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"content": "\u003cp>Just across the street from San José’s City Hall, the epicenter of local political power, real estate broker Andrew Espino has opened \u003ca href=\"https://www.shop1culture.com/\">1Culture\u003c/a>, a new gallery with a vision that represents his lifelong love of hip-hop, the oldies and the graffiti scene of the late 1980s.\u003c/p>\n\u003cp>During his formative years, Espino may have been better at sports than he was at tagging, but his memories of hanging out with graffiti-writer friends, flipping through New York City graffiti books and listening to music have stayed with him. After college he dove into the world of real estate, but continued to collect art. “I’d buy a piece and then use it as part of the staging in a house I was selling,” he says.\u003c/p>\n\u003cp>A few years later, his passion for the arts and culture of his youth began to intensify, and Espino began selling prints and creative merchandise at local pop-up events under the 1Culture moniker. It was hard to break even, let alone turn a profit, and it demanded much of his time, but Espino was hooked — and hatching even bigger plans.\u003c/p>\n\u003cp>In May 2022, he took the leap and opened 1Culture Gallery, nestled in a string of small businesses along Santa Clara Street. “I wanted to see what it’s like to run a gallery and I wanted to help artists learn and make money from their artwork,” he explains.\u003c/p>\n\u003cfigure id=\"attachment_13923748\" class=\"wp-caption aligncenter\" style=\"max-width: 1781px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13923748\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/MiguelMachuca.jpg\" alt=\"A man with a beard stands beside a framed, black and white ornate drawing\" width=\"1781\" height=\"2200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/MiguelMachuca.jpg 1781w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/MiguelMachuca-800x988.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/MiguelMachuca-1020x1260.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/MiguelMachuca-160x198.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/MiguelMachuca-768x949.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/MiguelMachuca-1243x1536.jpg 1243w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/MiguelMachuca-1658x2048.jpg 1658w\" sizes=\"(max-width: 1781px) 100vw, 1781px\">\u003cfigcaption class=\"wp-caption-text\">Artist Miguel Machuca at 1Culture. \u003ccite>(Photo courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The space caught the attention of San José State urban studies student Lou Jimenez, who was there to see an exhibition of the deeply psychological and symbolic charcoal works of \u003ca href=\"https://www.instagram.com/artemachuca33/?hl=en\">Miguel Machuca\u003c/a>. (Machuca produced the pieces seven years ago, during a year long battle with cancer.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I came to see Miguel’s show and was so impressed that I wanted to learn more about the space,” Jiménez recalls. “I reached out to Andrew to see if there was a way I could be involved.” She’s now the gallery’s executive director; Machuca is the art installer.\u003c/p>\n\u003cp>Jiménez shares Espino’s vision to support local artists. “He comes from a different demographic and is leading by example,” she says of his real estate background. “He’s taking a huge risk because it requires a lot of investment and there is no art market here per se, so I appreciate the fact that we’re trying to expand that.”\u003c/p>\n\u003cp>Espino admits he initially underestimated how challenging sales can be. “When I first started I thought it was going to be much easier to sell artwork. When you look at it from an outside perspective you think, ‘Oh you live in Silicon Valley and there’s a bunch of rich people here, and they’re going to throw money at you,’ and then you realize there’s no market for it,” he explains. “When I say ‘no market,’ I mean there’s no buyers. We have tons of sellers but no buyers. That was a huge and discouraging surprise.”\u003c/p>\n\u003cfigure id=\"attachment_13923749\" class=\"wp-caption aligncenter\" style=\"max-width: 2400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13923749\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/IMG_6127.jpg\" alt=\"Colorful mural of black, purple, orange and green on building front\" width=\"2400\" height=\"1800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/IMG_6127.jpg 2400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/IMG_6127-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/IMG_6127-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/IMG_6127-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/IMG_6127-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/IMG_6127-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/IMG_6127-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/IMG_6127-1920x1440.jpg 1920w\" sizes=\"(max-width: 2400px) 100vw, 2400px\">\u003cfigcaption class=\"wp-caption-text\">Mural by Carlos Rodriguez in the Wynwood District of Miami, Florida. \u003ccite>(Photo courtesy of 1Culture)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even with this realization, his sights are set on success, and he’s already put himself in a “bigger mindset” to steadily accomplish that. In October 2022, Espino took artist \u003ca href=\"https://www.instagram.com/carlosrmk/?hl=en\">Carlos Rodriguez\u003c/a> to Brooklyn to participate in the \u003ca href=\"https://www.instagram.com/bedstuywalls/?hl=en\">BedStuy Walls mural festival\u003c/a>. A few months later Espino arranged for Rodriguez to paint a mural in the Wynwood district during the Art Basel fair in Miami Beach. “Every city we’ve gone to, I feel we’ve had an influence there with our West Coast culture,” Espino says.\u003c/p>\n\u003cp>Espino hopes taking artists to other cities will provide the encouragement they might need to pursue a career in the arts. It’s also a way to build résumés, which gives the artists more legitimacy to potential collectors back in San José.\u003c/p>\n\u003cp>Through his businessman’s perspective, Espino feels collectors need to be educated on the value of supporting local talent. “A lot of homeowners need to be hand-held and explained to them how much of a difference it makes to the community to invest in local art and as sad as that is, they just don’t see it or hear it,” he says. “A few of the purchases we have had happened because we told them the story of the art and then they purchased, but it’s exhausting because you have to do that one by one.”\u003c/p>\n\u003cfigure id=\"attachment_13923750\" class=\"wp-caption aligncenter\" style=\"max-width: 2200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13923750\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/ShenShen210.jpg\" alt=\"Painting of man with hands in prayer, overlaid with colorful patterns\" width=\"2200\" height=\"2316\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/ShenShen210.jpg 2200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/ShenShen210-800x842.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/ShenShen210-1020x1074.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/ShenShen210-160x168.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/ShenShen210-768x808.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/ShenShen210-1459x1536.jpg 1459w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/ShenShen210-1945x2048.jpg 1945w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/ShenShen210-1920x2021.jpg 1920w\" sizes=\"(max-width: 2200px) 100vw, 2200px\">\u003cfigcaption class=\"wp-caption-text\">Artwork by Shen Shen 210 for ‘Bay Area Legends’ exhibit. \u003ccite>(Photo courtesy of 1Culture)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s clear that there are numerous hurdles ahead, but Espino is not the first person to face them — nor is he alone. Directors and proprietors of galleries and creative businesses have long grappled with issues of attendance, funding and sales in the South Bay. “San José is a suburb, it has [a population of] one million now, but the mentality is the same,” Espino notes.\u003c/p>\n\u003cp>Not one to back down from a challenge, Espino and his team have the passion and determination to construct a platform that will empower local artists and, if all goes to his plan, they hope to have a significant impact on the local arts community and culture for many years to come.\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>\u003c/p>\n\u003cp>\u003ci>The upcoming exhibit ‘Bay Area Legends’ at \u003ca href=\"https://www.shop1culture.com/\">1Culture\u003c/a> will feature 20 graffiti artists who have left their mark on the history and evolution of graffiti culture in Northern California. The opening reception will feature live painting and DJs on Feb. 3, 5–9 p.m. during \u003ca href=\"https://www.southfirstfridays.com\">Art Walk SJ\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"headline": "How a Passion for Graffiti Led to the Opening of San José’s New Gallery, 1Culture",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Just across the street from San José’s City Hall, the epicenter of local political power, real estate broker Andrew Espino has opened \u003ca href=\"https://www.shop1culture.com/\">1Culture\u003c/a>, a new gallery with a vision that represents his lifelong love of hip-hop, the oldies and the graffiti scene of the late 1980s.\u003c/p>\n\u003cp>During his formative years, Espino may have been better at sports than he was at tagging, but his memories of hanging out with graffiti-writer friends, flipping through New York City graffiti books and listening to music have stayed with him. After college he dove into the world of real estate, but continued to collect art. “I’d buy a piece and then use it as part of the staging in a house I was selling,” he says.\u003c/p>\n\u003cp>A few years later, his passion for the arts and culture of his youth began to intensify, and Espino began selling prints and creative merchandise at local pop-up events under the 1Culture moniker. It was hard to break even, let alone turn a profit, and it demanded much of his time, but Espino was hooked — and hatching even bigger plans.\u003c/p>\n\u003cp>In May 2022, he took the leap and opened 1Culture Gallery, nestled in a string of small businesses along Santa Clara Street. “I wanted to see what it’s like to run a gallery and I wanted to help artists learn and make money from their artwork,” he explains.\u003c/p>\n\u003cfigure id=\"attachment_13923748\" class=\"wp-caption aligncenter\" style=\"max-width: 1781px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13923748\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/MiguelMachuca.jpg\" alt=\"A man with a beard stands beside a framed, black and white ornate drawing\" width=\"1781\" height=\"2200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/MiguelMachuca.jpg 1781w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/MiguelMachuca-800x988.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/MiguelMachuca-1020x1260.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/MiguelMachuca-160x198.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/MiguelMachuca-768x949.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/MiguelMachuca-1243x1536.jpg 1243w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/MiguelMachuca-1658x2048.jpg 1658w\" sizes=\"(max-width: 1781px) 100vw, 1781px\">\u003cfigcaption class=\"wp-caption-text\">Artist Miguel Machuca at 1Culture. \u003ccite>(Photo courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The space caught the attention of San José State urban studies student Lou Jimenez, who was there to see an exhibition of the deeply psychological and symbolic charcoal works of \u003ca href=\"https://www.instagram.com/artemachuca33/?hl=en\">Miguel Machuca\u003c/a>. (Machuca produced the pieces seven years ago, during a year long battle with cancer.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I came to see Miguel’s show and was so impressed that I wanted to learn more about the space,” Jiménez recalls. “I reached out to Andrew to see if there was a way I could be involved.” She’s now the gallery’s executive director; Machuca is the art installer.\u003c/p>\n\u003cp>Jiménez shares Espino’s vision to support local artists. “He comes from a different demographic and is leading by example,” she says of his real estate background. “He’s taking a huge risk because it requires a lot of investment and there is no art market here per se, so I appreciate the fact that we’re trying to expand that.”\u003c/p>\n\u003cp>Espino admits he initially underestimated how challenging sales can be. “When I first started I thought it was going to be much easier to sell artwork. When you look at it from an outside perspective you think, ‘Oh you live in Silicon Valley and there’s a bunch of rich people here, and they’re going to throw money at you,’ and then you realize there’s no market for it,” he explains. “When I say ‘no market,’ I mean there’s no buyers. We have tons of sellers but no buyers. That was a huge and discouraging surprise.”\u003c/p>\n\u003cfigure id=\"attachment_13923749\" class=\"wp-caption aligncenter\" style=\"max-width: 2400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13923749\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/IMG_6127.jpg\" alt=\"Colorful mural of black, purple, orange and green on building front\" width=\"2400\" height=\"1800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/IMG_6127.jpg 2400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/IMG_6127-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/IMG_6127-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/IMG_6127-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/IMG_6127-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/IMG_6127-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/IMG_6127-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/IMG_6127-1920x1440.jpg 1920w\" sizes=\"(max-width: 2400px) 100vw, 2400px\">\u003cfigcaption class=\"wp-caption-text\">Mural by Carlos Rodriguez in the Wynwood District of Miami, Florida. \u003ccite>(Photo courtesy of 1Culture)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even with this realization, his sights are set on success, and he’s already put himself in a “bigger mindset” to steadily accomplish that. In October 2022, Espino took artist \u003ca href=\"https://www.instagram.com/carlosrmk/?hl=en\">Carlos Rodriguez\u003c/a> to Brooklyn to participate in the \u003ca href=\"https://www.instagram.com/bedstuywalls/?hl=en\">BedStuy Walls mural festival\u003c/a>. A few months later Espino arranged for Rodriguez to paint a mural in the Wynwood district during the Art Basel fair in Miami Beach. “Every city we’ve gone to, I feel we’ve had an influence there with our West Coast culture,” Espino says.\u003c/p>\n\u003cp>Espino hopes taking artists to other cities will provide the encouragement they might need to pursue a career in the arts. It’s also a way to build résumés, which gives the artists more legitimacy to potential collectors back in San José.\u003c/p>\n\u003cp>Through his businessman’s perspective, Espino feels collectors need to be educated on the value of supporting local talent. “A lot of homeowners need to be hand-held and explained to them how much of a difference it makes to the community to invest in local art and as sad as that is, they just don’t see it or hear it,” he says. “A few of the purchases we have had happened because we told them the story of the art and then they purchased, but it’s exhausting because you have to do that one by one.”\u003c/p>\n\u003cfigure id=\"attachment_13923750\" class=\"wp-caption aligncenter\" style=\"max-width: 2200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13923750\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/ShenShen210.jpg\" alt=\"Painting of man with hands in prayer, overlaid with colorful patterns\" width=\"2200\" height=\"2316\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/ShenShen210.jpg 2200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/ShenShen210-800x842.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/ShenShen210-1020x1074.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/ShenShen210-160x168.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/ShenShen210-768x808.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/ShenShen210-1459x1536.jpg 1459w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/ShenShen210-1945x2048.jpg 1945w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/ShenShen210-1920x2021.jpg 1920w\" sizes=\"(max-width: 2200px) 100vw, 2200px\">\u003cfigcaption class=\"wp-caption-text\">Artwork by Shen Shen 210 for ‘Bay Area Legends’ exhibit. \u003ccite>(Photo courtesy of 1Culture)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s clear that there are numerous hurdles ahead, but Espino is not the first person to face them — nor is he alone. Directors and proprietors of galleries and creative businesses have long grappled with issues of attendance, funding and sales in the South Bay. “San José is a suburb, it has [a population of] one million now, but the mentality is the same,” Espino notes.\u003c/p>\n\u003cp>Not one to back down from a challenge, Espino and his team have the passion and determination to construct a platform that will empower local artists and, if all goes to his plan, they hope to have a significant impact on the local arts community and culture for many years to come.\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>\u003c/p>\n\u003cp>\u003ci>The upcoming exhibit ‘Bay Area Legends’ at \u003ca href=\"https://www.shop1culture.com/\">1Culture\u003c/a> will feature 20 graffiti artists who have left their mark on the history and evolution of graffiti culture in Northern California. The opening reception will feature live painting and DJs on Feb. 3, 5–9 p.m. during \u003ca href=\"https://www.southfirstfridays.com\">Art Walk SJ\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The Most Memorable Sunset of the Year",
"headTitle": "The Most Memorable Sunset of the Year | KQED",
"content": "\u003cp>\u003cem>This week, as we near the end of 2022, the writers and editors of KQED Arts & Culture are reflecting on \u003ca href=\"https://www.kqed.org/arts/tag/one-beautiful-thing\">One Beautiful Thing\u003c/a> from the year. Here, in a year of endless freeway commutes and big-city gridlock, correspondent Pendarvis Harshaw honors the spiritual regeneration of a well-timed sunset.\u003c/em>\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">S\u003c/span>omeone asks you the best place to watch a sunset in Northern California, what do you say?\u003c/p>\n\u003cp>Driving down I-80 after leaving Tahoe? Sitting on a beach in Monterey? Pulled over somewhere on Hwy. 1, watching that big burning ball in the sky skinny dip into the Pacific?\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" class=\"alignright size-thumbnail wp-image-13833985\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">This year alone, I’ve seen the sunset from the fishing pier in Benicia, and Lone Tree Point in Rodeo. Have you ever been to San Jose’s Alviso Marina? With its wetlands, wide array of birds and murky waves, it’s like another world during the evening hours.\u003c/p>\n\u003cp>One of my personal top five favorite spots is the east side of Lake Merritt; I love watching the pelicans dive into the water as the sun dips behind the Alameda County Courthouse. And quiet as it’s kept, another personal favorite is the McDonalds parking lot on the hillside of Vallejo’s Magazine Street.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This place we call home has so many large bodies of water, changes in elevation, amazing displays of architecture, and evenings of pleasant weather that you really can’t go wrong when it comes to a Northern California sunset. You could literally pull over at the intersection of Road 104 and Road 35 in Davis, among the cows, and fall in love with the colors of the sky.\u003c/p>\n\u003cfigure id=\"attachment_13922295\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/Davis.Sunset-800x587.jpg\" alt=\"The sun disappears behind the plains of Central California, the sky a burnt amber and blue\" width=\"800\" height=\"587\" class=\"size-medium wp-image-13922295\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Davis.Sunset-800x587.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Davis.Sunset-1020x748.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Davis.Sunset-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Davis.Sunset-768x563.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Davis.Sunset-1536x1127.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Davis.Sunset.jpg 1885w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The view after pulling over at Road 104 and Road 35 in Davis, among the cows. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>he most memorable sunset of my year, though, involves an unfortunate carjacking on the Bay Bridge, a much-needed conversation about the under-recognized legacy of San Francisco gangsta rap, and getting blasted by sand on Ocean Beach.\u003c/p>\n\u003cp>The story starts in a boutique hip-hop clothing shop in San Francisco’s Lakeview neighborhood. Varsity jackets and colorful hoodies line one wall, while the other bears a mural painted by \u003ca href=\"https://www.kqed.org/arts/13916721/sucka-free-history-with-dregs-one\">Dregs One\u003c/a>. It’s a collage of Bay Area rappers who’ve transitioned to ancestor-hood. I’m in the middle of the store chopping it up with the shop owner, \u003ca href=\"https://www.instagram.com/cellski415/?hl=en\">Cellski\u003c/a>, a San Francisco rap icon whose career spans four decades.\u003c/p>\n\u003cp>He’s telling me about the history of rappers and dope dealers in the City. That leads to a conversation about Chemical Baby, Cellski’s clothing line, a name inspired by the toxic dirt and water found in his community, as well as the drugs.\u003c/p>\n\u003cfigure id=\"attachment_13922284\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/IMG_8555-1020x1360.jpg\" alt=\"San Francisco hip-hop legend Cellski, at his boutique clothing store in Lakeview.\" width=\"640\" height=\"853\" class=\"size-large wp-image-13922284\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/IMG_8555-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/IMG_8555-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/IMG_8555-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/IMG_8555-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/IMG_8555-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/IMG_8555-1536x2048.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/IMG_8555-scaled.jpg 1920w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco hip-hop legend Cellski at his boutique clothing store in Lakeview. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We talk about some of his upcoming plans, and then I shake his hand and head toward the door, ready to drive back to Sacramento. He warns me about traffic. On top of the usual 5 p.m. gridlock, apparently there’d been\u003ca href=\"https://www.kron4.com/news/bay-area/chp-looks-for-armed-carjacking-suspect-on-bay-bridge/\"> a carjacking on the Bay Bridge\u003c/a> earlier that day, and The City was a shitshow.\u003c/p>\n\u003cp>So I decide to kill time by grabbing a slice from Northgate Pizza and hitting Ocean Beach. That’s where I messed up. The wind and sand combined to drop a diss track that my car still hasn’t recovered from. The song goes: “Sand in my beard and in my Thermos / Sand all over my clothes and my epidermis.”\u003c/p>\n\u003cp>Beach trip truncated and traffic still a mess, I decide on an alternate route: across the Golden Gate Bridge, up 101 and over Hwy. 37 from Novato to Vallejo. From there, I figure, I can catch 80 and bypass the gridlock as I head back to Sac — and I get more than I bargained for.\u003c/p>\n\u003cfigure id=\"attachment_13922300\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/LakeMerrit.Sunset.1-800x590.jpg\" alt=\"The sun sets behind the skyline of Oakland's downtown with Lake Merritt in the foreground\" width=\"800\" height=\"590\" class=\"size-medium wp-image-13922300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/LakeMerrit.Sunset.1-800x590.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/LakeMerrit.Sunset.1-1020x752.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/LakeMerrit.Sunset.1-160x118.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/LakeMerrit.Sunset.1-768x566.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/LakeMerrit.Sunset.1-1536x1133.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/LakeMerrit.Sunset.1-2048x1510.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/LakeMerrit.Sunset.1-1920x1416.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lake Merritt, Oakland’s jewel. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>he afternoon conversation with the Lakeview lyricist inspired my evening playlist. I slap a couple tracks from Cellski, then 11/5, Cougnut, and an RBL Posse track or two. With early- to mid-’90s Frisco gangsta rap blasting through the speakers of my midsize hybrid, I hit Hwy. 37 right at golden hour.\u003c/p>\n\u003cp>Driving east, the sunset in my rearview, I watch as the spring sky turns beaming, brilliant shades of Baskin-Robbins Rainbow Sherbet and Starburst Passion Fruit purple.\u003c/p>\n\u003cp>California State Route 37 is low-lying, two-lane highway that runs along the northern edge of San Pablo Bay. It’s surrounded by marshy wetlands and a series of sloughs, as well as the Napa River. The water ripples up right next to the road. The cautious mind wonders \u003ca href=\"https://www.pressdemocrat.com/article/news/highway-37-could-be-under-water-decades-from-now-heres-caltrans-solution/\">how long this infrastructure will hold against rising tides\u003c/a>. The imaginative mind feels like it’s riding atop the waves of the Bay.\u003c/p>\n\u003cp>But the present mind enjoys the classic SF gangsta rap reverberating through the stock sound system as the sun sets in my rearview mirror. \u003cem>There’s a bluebird on my shoulder, should I kill it?\u003c/em>\u003c/p>\n\u003cp>With all the photos I’ve taken of sunsets this year, that’s the one I didn’t take. Probably safer to take a pass on getting a pixelated image of a gigantic star burning 91 million miles away, while driving 70 miles per hour on a giant rotating rock. (It would’ve been really, really pretty tho.)\u003c/p>\n\u003cp>Reflecting on this year and all the sunsets I’ve seen, so many of them were background visuals for my lengthy commute. Every once in a while, I’d get to a specific spot, face toward the west, and watch nature’s daily magic happen.\u003c/p>\n\u003cp>And yet my most memorable sunset of the year, I watched as I drove in the opposite direction. How lucky are we? There are so many beautiful places to watch the sunset here in the Bay Area that we can literally turn our back, and it’s still one of the prettiest sights in the world.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"excerpt": "Even on the unlikeliest of days, a Northern California sunset can stop time.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>This week, as we near the end of 2022, the writers and editors of KQED Arts & Culture are reflecting on \u003ca href=\"https://www.kqed.org/arts/tag/one-beautiful-thing\">One Beautiful Thing\u003c/a> from the year. Here, in a year of endless freeway commutes and big-city gridlock, correspondent Pendarvis Harshaw honors the spiritual regeneration of a well-timed sunset.\u003c/em>\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">S\u003c/span>omeone asks you the best place to watch a sunset in Northern California, what do you say?\u003c/p>\n\u003cp>Driving down I-80 after leaving Tahoe? Sitting on a beach in Monterey? Pulled over somewhere on Hwy. 1, watching that big burning ball in the sky skinny dip into the Pacific?\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" class=\"alignright size-thumbnail wp-image-13833985\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">This year alone, I’ve seen the sunset from the fishing pier in Benicia, and Lone Tree Point in Rodeo. Have you ever been to San Jose’s Alviso Marina? With its wetlands, wide array of birds and murky waves, it’s like another world during the evening hours.\u003c/p>\n\u003cp>One of my personal top five favorite spots is the east side of Lake Merritt; I love watching the pelicans dive into the water as the sun dips behind the Alameda County Courthouse. And quiet as it’s kept, another personal favorite is the McDonalds parking lot on the hillside of Vallejo’s Magazine Street.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This place we call home has so many large bodies of water, changes in elevation, amazing displays of architecture, and evenings of pleasant weather that you really can’t go wrong when it comes to a Northern California sunset. You could literally pull over at the intersection of Road 104 and Road 35 in Davis, among the cows, and fall in love with the colors of the sky.\u003c/p>\n\u003cfigure id=\"attachment_13922295\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/Davis.Sunset-800x587.jpg\" alt=\"The sun disappears behind the plains of Central California, the sky a burnt amber and blue\" width=\"800\" height=\"587\" class=\"size-medium wp-image-13922295\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Davis.Sunset-800x587.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Davis.Sunset-1020x748.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Davis.Sunset-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Davis.Sunset-768x563.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Davis.Sunset-1536x1127.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Davis.Sunset.jpg 1885w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The view after pulling over at Road 104 and Road 35 in Davis, among the cows. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>he most memorable sunset of my year, though, involves an unfortunate carjacking on the Bay Bridge, a much-needed conversation about the under-recognized legacy of San Francisco gangsta rap, and getting blasted by sand on Ocean Beach.\u003c/p>\n\u003cp>The story starts in a boutique hip-hop clothing shop in San Francisco’s Lakeview neighborhood. Varsity jackets and colorful hoodies line one wall, while the other bears a mural painted by \u003ca href=\"https://www.kqed.org/arts/13916721/sucka-free-history-with-dregs-one\">Dregs One\u003c/a>. It’s a collage of Bay Area rappers who’ve transitioned to ancestor-hood. I’m in the middle of the store chopping it up with the shop owner, \u003ca href=\"https://www.instagram.com/cellski415/?hl=en\">Cellski\u003c/a>, a San Francisco rap icon whose career spans four decades.\u003c/p>\n\u003cp>He’s telling me about the history of rappers and dope dealers in the City. That leads to a conversation about Chemical Baby, Cellski’s clothing line, a name inspired by the toxic dirt and water found in his community, as well as the drugs.\u003c/p>\n\u003cfigure id=\"attachment_13922284\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/IMG_8555-1020x1360.jpg\" alt=\"San Francisco hip-hop legend Cellski, at his boutique clothing store in Lakeview.\" width=\"640\" height=\"853\" class=\"size-large wp-image-13922284\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/IMG_8555-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/IMG_8555-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/IMG_8555-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/IMG_8555-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/IMG_8555-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/IMG_8555-1536x2048.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/IMG_8555-scaled.jpg 1920w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco hip-hop legend Cellski at his boutique clothing store in Lakeview. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We talk about some of his upcoming plans, and then I shake his hand and head toward the door, ready to drive back to Sacramento. He warns me about traffic. On top of the usual 5 p.m. gridlock, apparently there’d been\u003ca href=\"https://www.kron4.com/news/bay-area/chp-looks-for-armed-carjacking-suspect-on-bay-bridge/\"> a carjacking on the Bay Bridge\u003c/a> earlier that day, and The City was a shitshow.\u003c/p>\n\u003cp>So I decide to kill time by grabbing a slice from Northgate Pizza and hitting Ocean Beach. That’s where I messed up. The wind and sand combined to drop a diss track that my car still hasn’t recovered from. The song goes: “Sand in my beard and in my Thermos / Sand all over my clothes and my epidermis.”\u003c/p>\n\u003cp>Beach trip truncated and traffic still a mess, I decide on an alternate route: across the Golden Gate Bridge, up 101 and over Hwy. 37 from Novato to Vallejo. From there, I figure, I can catch 80 and bypass the gridlock as I head back to Sac — and I get more than I bargained for.\u003c/p>\n\u003cfigure id=\"attachment_13922300\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/LakeMerrit.Sunset.1-800x590.jpg\" alt=\"The sun sets behind the skyline of Oakland's downtown with Lake Merritt in the foreground\" width=\"800\" height=\"590\" class=\"size-medium wp-image-13922300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/LakeMerrit.Sunset.1-800x590.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/LakeMerrit.Sunset.1-1020x752.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/LakeMerrit.Sunset.1-160x118.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/LakeMerrit.Sunset.1-768x566.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/LakeMerrit.Sunset.1-1536x1133.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/LakeMerrit.Sunset.1-2048x1510.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/LakeMerrit.Sunset.1-1920x1416.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lake Merritt, Oakland’s jewel. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>he afternoon conversation with the Lakeview lyricist inspired my evening playlist. I slap a couple tracks from Cellski, then 11/5, Cougnut, and an RBL Posse track or two. With early- to mid-’90s Frisco gangsta rap blasting through the speakers of my midsize hybrid, I hit Hwy. 37 right at golden hour.\u003c/p>\n\u003cp>Driving east, the sunset in my rearview, I watch as the spring sky turns beaming, brilliant shades of Baskin-Robbins Rainbow Sherbet and Starburst Passion Fruit purple.\u003c/p>\n\u003cp>California State Route 37 is low-lying, two-lane highway that runs along the northern edge of San Pablo Bay. It’s surrounded by marshy wetlands and a series of sloughs, as well as the Napa River. The water ripples up right next to the road. The cautious mind wonders \u003ca href=\"https://www.pressdemocrat.com/article/news/highway-37-could-be-under-water-decades-from-now-heres-caltrans-solution/\">how long this infrastructure will hold against rising tides\u003c/a>. The imaginative mind feels like it’s riding atop the waves of the Bay.\u003c/p>\n\u003cp>But the present mind enjoys the classic SF gangsta rap reverberating through the stock sound system as the sun sets in my rearview mirror. \u003cem>There’s a bluebird on my shoulder, should I kill it?\u003c/em>\u003c/p>\n\u003cp>With all the photos I’ve taken of sunsets this year, that’s the one I didn’t take. Probably safer to take a pass on getting a pixelated image of a gigantic star burning 91 million miles away, while driving 70 miles per hour on a giant rotating rock. (It would’ve been really, really pretty tho.)\u003c/p>\n\u003cp>Reflecting on this year and all the sunsets I’ve seen, so many of them were background visuals for my lengthy commute. Every once in a while, I’d get to a specific spot, face toward the west, and watch nature’s daily magic happen.\u003c/p>\n\u003cp>And yet my most memorable sunset of the year, I watched as I drove in the opposite direction. How lucky are we? There are so many beautiful places to watch the sunset here in the Bay Area that we can literally turn our back, and it’s still one of the prettiest sights in the world.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "flor-martinez-zaragoza-instagram-influencer-activist-farm-workers-immigrants-daca-hella-hungry",
"title": "Meet The San Jose Influencer Using Her Platform to Support Farm Workers and Undocumented Immigrants",
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"headTitle": "Meet The San Jose Influencer Using Her Platform to Support Farm Workers and Undocumented Immigrants | KQED",
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"content": "\u003cp>\u003cb>\u003ci>¡Hella Hungry! is a column about Bay Area foodmakers, exploring the region’s culinary cultures through the mouth of a first-generation local.\u003c/i>\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">When most people think of Silicon Valley, they tend to think of the white-collar aspects — the self-driving Teslas, search engine startups and mega-billionaire corporations. But who is in those office buildings after hours, wiping down desks and taking out the trash? Who is cooking meals for campuses filled with six- and seven-figure earning employees? Who is tending the nearby fields and orchards? And why is \u003ca href=\"https://sanjosespotlight.com/joint-venture-report-highlights-silicon-valley-wealth-gaps-and-tech-booms-san-jose-santa-clara-county/\">the gap here between the affluent and working class, particularly in Spanish-speaking households\u003c/a>, among the worst in the nation?\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Flor Martinez Zaragoza, a 27-year-old activist, influencer and community advocate — probably best known for her Instagram account, \u003c/span>\u003ca href=\"https://www.instagram.com/flowerinspanish/\">\u003cspan style=\"font-weight: 400\">@flowerinspanish\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, where she has 128,000 followers — has long been acutely aware of those discrepancies. She grew up in San Martin, a small town 25 miles south of San Jose that felt worlds apart from the ritzy tech campuses of Apple, Facebook and Google. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Living outside of the city, there’s a crazy cultural difference driving around [Highway] 101,” she says. “It’s all farmworkers from Gilroy towards Salinas. Then you get to San Jose, Oakland, SF and it’s more industrial.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">As an undocumented immigrant with \u003c/span>\u003ca href=\"https://www.kqed.org/news/11917125/bay-area-daca-recipients-have-mixed-emotions-on-10-year-anniversary\">Deferred Action for Childhood Arrivals\u003c/a>\u003cspan style=\"font-weight: 400\"> (DACA) status, Martinez Zaragoza picked grapes for wineries during her summers as a teenager, along with her family. Throughout her life, she has had to toggle between being an undocumented Mexicana with deep Bay Area roots and just trying to make ends meet in one of the world’s most expensive places to live. \u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For immigrants like her, it can feel impossible to voice any concerns, as they’re largely overshadowed by the larger forces of Silicon Valley and being undocumented. But \u003c/span>\u003cspan style=\"font-weight: 400\">Martinez Zaragoza is no longer keeping quiet about her community’s needs. In 2020 — as wildfires swept across Northern California, putting thousands of mostly undocumented farm workers in harm’s way — she began using social media as a tool to educate others about the hardships of a workforce population that is, and has been, aggressively exploited. It’s where she comes from.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Since then, she has used her \u003ca href=\"https://www.tiktok.com/@flowerinspanish\">rising platform\u003c/a> to spotlight farm workers, undocumented business owners and independent, immigrant-owned restaurants around Northern and Central California. Her goal is to change California laws and improve pathways for thousands like her. I hung out with Flor at a few of her favorite restaurants around San Jo to learn more about her work and mission.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">This interview has been edited for length and clarity.\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">********\u003c/span>\u003c/p>\n\u003cp>\u003cb>KQED: \u003c/b>\u003ca href=\"https://www.kqed.org/news/11923693/farmworkers-24-day-march-culminates-in-sacramento-pressuring-newsom-to-sign-union-bill\">\u003cb>You participated in a 24-day United Farm Workers march\u003c/b>\u003c/a>\u003cb> that ended in Sacramento — a protest that successfully pressured Governor Gavin Newsom to sign \u003c/b>\u003ca href=\"https://openstates.org/ca/bills/20212022/AB2183/\">\u003cb>a piece of legislation expanding farm workers’ union rights\u003c/b>\u003c/a>\u003cb>. Can you tell us about that bill and your role in it?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The bill, AB 2183, is for farm workers to vote for union representation freely and fairly without fear of intimidation or threat from employers. Many of them are undocumented. They’ve been able to unionize before, but [in the past] they’ve been fearful about it. Many leaders who work in the field would be dismissed or fired [for their involvement]. They didn’t have much protection: They had to vote on site, in the field. But now this bill allows farm workers to vote from home and use their voice without being targeted. They’re the most vulnerable workforce in the nation. That bill passed right before they were about to go on strike.\u003c/span>\u003c/p>\n\u003cp>\u003cb>How did you get involved in this work?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I migrated to the U.S. [from Jalisco, México] when I was three, but I’ve lived in the Bay Area for most of my life. I’ve mostly lived in Gilroy and San Martin, near Morgan Hill, and I moved to San Jose six years ago. I used to be a farm worker when I was 14 years old. I worked in Gilroy, Watsonville and Santa Cruz, picking wine grapes with my parents and sister. I did it for a couple summers and then I had to focus on high school and stopped working in the fields. My grandpa was a \u003c/span>\u003ca href=\"https://video.kqed.org/video/oregon-experience-the-braceros/\">\u003cspan style=\"font-weight: 400\">bracero\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, too. He worked in Lodi, where we [recently] marched through. My grandpa broke his rib when he was working, and they sent him back to México. No compensation. They’re still treated like that today. If a worker gets hurt on the job, they don’t have work insurance. They’re so undervalued — sprayed with pesticides, without representation. They don’t have the money to get health care. There are lots of Mexicanos and Central Americans in the fields. They’re undocumented. There’s no hazard pay.\u003c/span>\u003c/p>\n\u003cp>https://www.instagram.com/p/ChfIb_jFZhL/\u003c/p>\n\u003cp>\u003cb>What’s your inspiration?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I was probably about 12 years old when I started advocating for immigration reform. My mom has always been a big advocate for educational rights for marginalized students. I would go to district meetings and events and use my English to speak for the women who only spoke in Spanish. I was their voice, and it introduced me to public speaking and advocating for others at an early age. Seeing my mom speaking broken English for women who spoke no English … that inspired me. They fought for charter schools to support students who didn’t know English — they would just get put into special ed, and it impacted their futures. A group of Latina moms fought for smaller classes with more attention and resources. And they won. I was a part of that. They sent me to Nashville and I was part of a leadership convention summit. I was the youngest one there with other leaders around the country. I learned how to be a voice and help my people. I’ve just been non-stop ever since.\u003c/span>\u003c/p>\n\u003cp>\u003cb>How has social media helped you to share your messages and experiences with others?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It’s a tool that previous generations didn’t have. The bill that just passed for farmworkers was largely due to social media. The United Farm Workers introduced the bill, and the farmworkers supported it. Many people told me they learned about what was happening because of the content being put out on social media. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[pullquote size=\"large\" align=\"right\" citation=\"Flor Martinez Zaragoza\"]“There’s no reason those who feed us should be hungry. They’re the lowest paid workforce in the nation.”[/pullquote]If some of us didn’t go hard on social media, lots of people wouldn’t be aware. TikTok platforms allow younger generations to listen and tell their story and others can be more active. I’ve seen the immense difference in how this younger generation stands up and makes videos. It’s about the education of people and spreading the message as influencers on [social media]. \u003c/span>\u003c/p>\n\u003cp>\u003cb>You’re vocal about supporting local businesses like \u003c/b>\u003ca href=\"https://www.instagram.com/tostadas.sj/\">\u003cb>Tostadas\u003c/b>\u003c/a>\u003cb> and its sister restaurants, the coffeeshop \u003c/b>\u003ca href=\"https://www.instagram.com/conazucarcafe/\">\u003cb>Con Azúcar Cafe\u003c/b>\u003c/a>\u003cb> and the newly opened \u003c/b>\u003ca href=\"https://www.instagram.com/tostadasprime/\">\u003cb>Tostadas Prime\u003c/b>\u003c/a>\u003cb>. What do you like about these restaurants?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">These locations are Latino-owned. When we put money back into our communities instead of corporations, that’s a resource. Our communities don’t always have much of it. These places provide jobs for people, and they outsource their ingredients responsibly. Having a Latino coffee shop [like Con Azúcar] is important. There are thousands of Starbucks in San Jose. But you can go around the corner and keep the money in your community. These places are doing it responsibly and giving back. For example, they support my nonprofit, \u003c/span>\u003ca href=\"https://opencorporates.com/companies/us_ca/C4574861\">\u003cspan style=\"font-weight: 400\">Celebration Nation Inc\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. We have had multiple times when they let me borrow equipment for my toy drive. We help each other, repost our stuff, anything we need from each other. The owners have \u003c/span>\u003ca href=\"https://www.kqed.org/news/11917125/bay-area-daca-recipients-have-mixed-emotions-on-10-year-anniversary\">DACA\u003c/a>\u003cspan style=\"font-weight: 400\"> like me.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Tostadas is one of my favorite places. They’ve been around for a while. They have vegan options, and it’s very cultural. The pandemic took a hit on them, but they’re still around. \u003ca href=\"https://www.instagram.com/reel/CjtyUQrNYsG/?utm_source=ig_web_copy_link\">Tostadas Prime\u003c/a>] is more luxury. If people order a certain dish, a percentage will go to a nonprofit and help farm workers. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">These restaurants employ around 200 people. It’s important to put money back into our community. When we shop for food, it’s usually corporate. It’s a business and there are lots of chains. It takes a toll on our bodies and health. They’re mass producing on demand and introducing pesticides and poison. I’m vocal about eating organic. It helps us and the farm workers. Big corporations profit from us. We need to go back to how our ancestors were eating, harvesting whatever they could and sharing it with their neighbors, keeping it local and small batch. If San Jose had its own food system, that would be massive.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13920530\" class=\"wp-caption alignnone\" style=\"max-width: 1928px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13920530\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/flor-mural.jpg\" alt=\"A young Latina stands in front of a mural painted inside a restaurant, depicting two undocumented Latino brothers shaking hands\" width=\"1928\" height=\"1271\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/flor-mural.jpg 1928w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/flor-mural-800x527.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/flor-mural-1020x672.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/flor-mural-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/flor-mural-768x506.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/flor-mural-1536x1013.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/flor-mural-1920x1266.jpg 1920w\" sizes=\"(max-width: 1928px) 100vw, 1928px\">\u003cfigcaption class=\"wp-caption-text\">One of Martinez Zaragoza’s favorite restaurants, Tostadas, is owned by DACA recipient brothers Alex and Victor Garcia, portrayed here in a mural. \u003ccite>(Jordan Hayes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>You mentioned your nonprofit. Tell us more about it.\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I started a nonprofit [\u003ca href=\"https://www.celebration-nation.org/\">Celebration Nation\u003c/a>] to support farm workers. We have a food bank program for them. We serve about 10,000 workers every month, across six towns in California. It’s volunteer-run. It’s basically to fill the gap around food insecurity with farm workers. There’s no reason those who feed us should be hungry. They’re the lowest paid workforce in the nation. Their families suffer. [They usually get served] food that lacks nutrition, which leads to health issues in the future. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">We serve different languages, including Triqui and Mixtec. We have translators to prevent language barriers for accessing food banks. There are lots of reasons that farm workers get excluded from assistance. Having worked in the field helps me to get trust and know what’s going on. I went viral in 2020 during the fires, smoke, heat waves, pandemic. \u003c/span>\u003ca href=\"https://www.instagram.com/p/CDzEYHhpbEC/?utm_source=ig_web_copy_link\">\u003cspan style=\"font-weight: 400\">I expressed my frustration during the conditions\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, and \u003ca href=\"https://www.instagram.com/p/CEGjH1_pNjz/?utm_source=ig_web_copy_link\">I was telling people to pick their own vegetables\u003c/a>. I used to be a worker so I have insight into the details.\u003c/span>\u003c/p>\n\u003cp>Our next project is creating an educational program accessible on Web.3 and we will be utilizing blockchain technology to educate marginalized youth.\u003c/p>\n\u003cp>\u003cb>You currently have \u003c/b>\u003ca href=\"https://www.kqed.org/news/11917125/bay-area-daca-recipients-have-mixed-emotions-on-10-year-anniversary\">\u003cb>DACA\u003c/b>\u003c/a>\u003cb>. How has that impacted your life?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It has honestly helped me so much. It allowed me to get a driver’s license and a Social Security number. It shielded me from deportation. It lets me go about my day more comfortably. I have to renew it every two years. Having [Social Security] literally allows me to do business, to apply for loans, to apply for government grants. During the pandemic my event company was able to get a government grant because of my social. Also, I was able to get a stimulus check, unlike many farm workers who are undocumented. It definitely changed my life, and it sucks that it’s not available for more people. \u003c/span>\u003c/p>\n\u003cp>https://www.instagram.com/p/CjV0S5PJM9k/\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">DACA stopped accepting new applicants about two years ago. Trump was pushing the issue, trying to get rid of it every year. He left a lasting impact on the status of DACA, and \u003c/span>\u003ca href=\"https://www.texastribune.org/2021/07/16/new-article-1626468650daca-texas-judge/\">\u003cspan style=\"font-weight: 400\">a Texas judge ended applications\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. DACA doesn’t exist for the new generation. This month we’re waiting to see what happens — they’re supposed to \u003ca href=\"https://www.npr.org/2022/10/05/1127107147/an-appeals-court-rules-against-daca-but-the-program-continues-for-now\">share new information\u003c/a>. There is so much uncertainty, it sucks. We work for our communities, we’re contributing to the economy, doing our part for San Jose, providing jobs. This is people’s livelihoods. It’s about making an impact on the city, state, nation. We’re dreamers but we don’t sleep. \u003c/span>\u003c/p>\n\u003cp>\u003cb>What are you currently working on, and what’s on your mind?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[aside postID='arts_13918088,arts_13920076,arts_13919032']I have a food company that’s coming soon. I haven’t announced it officially yet, but we’re going to sell chiles secos, spices, nuts and cultura from México. It’ll have its roots in México.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">At the end of the day I have DACA. I have to create my own path and be in control of my future. I have to make choices that help me and my community. DACA and immigration reform are important. Immigration reform could help 11 to 12 million people, including our parents and the next generation. I organize rallies in San Jose and collaborate with other social justice groups like \u003c/span>\u003ca href=\"https://www.pactsj.org/\">\u003cspan style=\"font-weight: 400\">PACT [People Acting in Community Together]\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. They’ve always included me and my mom. She’s in Mexico now and can’t come back. But when she was here she had a community with PACT and had an outlet to advocate as an immigrant mom. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I try to provide that for women in my nonprofit. We’re run by moms and volunteers. They have a community and they throw their own parties. I like to lead the way when I can and step up. I wouldn’t change it. \u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">Flor’s work can be seen \u003c/span>\u003c/i>\u003ca href=\"https://www.instagram.com/flowerinspanish/\">\u003ci>\u003cspan style=\"font-weight: 400\">online\u003c/span>\u003c/i>\u003c/a>\u003ci>\u003cspan style=\"font-weight: 400\"> and at her nonprofit, \u003c/span>\u003c/i>\u003ca href=\"https://www.celebration-nation.org/\">\u003ci>\u003cspan style=\"font-weight: 400\">Celebration Nation\u003c/span>\u003c/i>\u003c/a>\u003ci>\u003cspan style=\"font-weight: 400\"> (3031 Tisch Way, 110 Plaza West, San Jose). \u003c/span>\u003c/i>\u003ca href=\"https://www.instagram.com/conazucarcafe/\">\u003ci>\u003cspan style=\"font-weight: 400\">Con Azúcar Cafe\u003c/span>\u003c/i>\u003c/a>\u003ci>\u003cspan style=\"font-weight: 400\"> is open M–F from 6 a.m. to 6 p.m. and Sat.–Sun. 7 a.m. to 6 p.m. (101 E Santa Clara St., San Jose). Tostadas has two locations in San Jose and a newly opened Tostadas Prime in Santa Clara. \u003c/span>\u003c/i>\u003ca href=\"https://www.instagram.com/tostadas.sj/\">\u003ci>\u003cspan style=\"font-weight: 400\">Check their page\u003c/span>\u003c/i>\u003c/a>\u003ci>\u003cspan style=\"font-weight: 400\"> for updates. Special thanks to \u003ca href=\"https://www.instagram.com/imrealbasic/\">Jordan Hayes\u003c/a> for his photography and videography.\u003c/span>\u003c/i>\u003c/p>\n\n",
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"title": "Meet The San Jose Influencer Using Her Platform to Support Farm Workers and Undocumented Immigrants | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cb>\u003ci>¡Hella Hungry! is a column about Bay Area foodmakers, exploring the region’s culinary cultures through the mouth of a first-generation local.\u003c/i>\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">When most people think of Silicon Valley, they tend to think of the white-collar aspects — the self-driving Teslas, search engine startups and mega-billionaire corporations. But who is in those office buildings after hours, wiping down desks and taking out the trash? Who is cooking meals for campuses filled with six- and seven-figure earning employees? Who is tending the nearby fields and orchards? And why is \u003ca href=\"https://sanjosespotlight.com/joint-venture-report-highlights-silicon-valley-wealth-gaps-and-tech-booms-san-jose-santa-clara-county/\">the gap here between the affluent and working class, particularly in Spanish-speaking households\u003c/a>, among the worst in the nation?\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Flor Martinez Zaragoza, a 27-year-old activist, influencer and community advocate — probably best known for her Instagram account, \u003c/span>\u003ca href=\"https://www.instagram.com/flowerinspanish/\">\u003cspan style=\"font-weight: 400\">@flowerinspanish\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, where she has 128,000 followers — has long been acutely aware of those discrepancies. She grew up in San Martin, a small town 25 miles south of San Jose that felt worlds apart from the ritzy tech campuses of Apple, Facebook and Google. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Living outside of the city, there’s a crazy cultural difference driving around [Highway] 101,” she says. “It’s all farmworkers from Gilroy towards Salinas. Then you get to San Jose, Oakland, SF and it’s more industrial.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">As an undocumented immigrant with \u003c/span>\u003ca href=\"https://www.kqed.org/news/11917125/bay-area-daca-recipients-have-mixed-emotions-on-10-year-anniversary\">Deferred Action for Childhood Arrivals\u003c/a>\u003cspan style=\"font-weight: 400\"> (DACA) status, Martinez Zaragoza picked grapes for wineries during her summers as a teenager, along with her family. Throughout her life, she has had to toggle between being an undocumented Mexicana with deep Bay Area roots and just trying to make ends meet in one of the world’s most expensive places to live. \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\">For immigrants like her, it can feel impossible to voice any concerns, as they’re largely overshadowed by the larger forces of Silicon Valley and being undocumented. But \u003c/span>\u003cspan style=\"font-weight: 400\">Martinez Zaragoza is no longer keeping quiet about her community’s needs. In 2020 — as wildfires swept across Northern California, putting thousands of mostly undocumented farm workers in harm’s way — she began using social media as a tool to educate others about the hardships of a workforce population that is, and has been, aggressively exploited. It’s where she comes from.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Since then, she has used her \u003ca href=\"https://www.tiktok.com/@flowerinspanish\">rising platform\u003c/a> to spotlight farm workers, undocumented business owners and independent, immigrant-owned restaurants around Northern and Central California. Her goal is to change California laws and improve pathways for thousands like her. I hung out with Flor at a few of her favorite restaurants around San Jo to learn more about her work and mission.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">This interview has been edited for length and clarity.\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">********\u003c/span>\u003c/p>\n\u003cp>\u003cb>KQED: \u003c/b>\u003ca href=\"https://www.kqed.org/news/11923693/farmworkers-24-day-march-culminates-in-sacramento-pressuring-newsom-to-sign-union-bill\">\u003cb>You participated in a 24-day United Farm Workers march\u003c/b>\u003c/a>\u003cb> that ended in Sacramento — a protest that successfully pressured Governor Gavin Newsom to sign \u003c/b>\u003ca href=\"https://openstates.org/ca/bills/20212022/AB2183/\">\u003cb>a piece of legislation expanding farm workers’ union rights\u003c/b>\u003c/a>\u003cb>. Can you tell us about that bill and your role in it?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The bill, AB 2183, is for farm workers to vote for union representation freely and fairly without fear of intimidation or threat from employers. Many of them are undocumented. They’ve been able to unionize before, but [in the past] they’ve been fearful about it. Many leaders who work in the field would be dismissed or fired [for their involvement]. They didn’t have much protection: They had to vote on site, in the field. But now this bill allows farm workers to vote from home and use their voice without being targeted. They’re the most vulnerable workforce in the nation. That bill passed right before they were about to go on strike.\u003c/span>\u003c/p>\n\u003cp>\u003cb>How did you get involved in this work?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I migrated to the U.S. [from Jalisco, México] when I was three, but I’ve lived in the Bay Area for most of my life. I’ve mostly lived in Gilroy and San Martin, near Morgan Hill, and I moved to San Jose six years ago. I used to be a farm worker when I was 14 years old. I worked in Gilroy, Watsonville and Santa Cruz, picking wine grapes with my parents and sister. I did it for a couple summers and then I had to focus on high school and stopped working in the fields. My grandpa was a \u003c/span>\u003ca href=\"https://video.kqed.org/video/oregon-experience-the-braceros/\">\u003cspan style=\"font-weight: 400\">bracero\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, too. He worked in Lodi, where we [recently] marched through. My grandpa broke his rib when he was working, and they sent him back to México. No compensation. They’re still treated like that today. If a worker gets hurt on the job, they don’t have work insurance. They’re so undervalued — sprayed with pesticides, without representation. They don’t have the money to get health care. There are lots of Mexicanos and Central Americans in the fields. They’re undocumented. There’s no hazard pay.\u003c/span>\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cb>What’s your inspiration?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I was probably about 12 years old when I started advocating for immigration reform. My mom has always been a big advocate for educational rights for marginalized students. I would go to district meetings and events and use my English to speak for the women who only spoke in Spanish. I was their voice, and it introduced me to public speaking and advocating for others at an early age. Seeing my mom speaking broken English for women who spoke no English … that inspired me. They fought for charter schools to support students who didn’t know English — they would just get put into special ed, and it impacted their futures. A group of Latina moms fought for smaller classes with more attention and resources. And they won. I was a part of that. They sent me to Nashville and I was part of a leadership convention summit. I was the youngest one there with other leaders around the country. I learned how to be a voice and help my people. I’ve just been non-stop ever since.\u003c/span>\u003c/p>\n\u003cp>\u003cb>How has social media helped you to share your messages and experiences with others?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It’s a tool that previous generations didn’t have. The bill that just passed for farmworkers was largely due to social media. The United Farm Workers introduced the bill, and the farmworkers supported it. Many people told me they learned about what was happening because of the content being put out on social media. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>",
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"content": "“There’s no reason those who feed us should be hungry. They’re the lowest paid workforce in the nation.”",
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"content": "\u003cdiv class=\"post-body\">\u003cp>If some of us didn’t go hard on social media, lots of people wouldn’t be aware. TikTok platforms allow younger generations to listen and tell their story and others can be more active. I’ve seen the immense difference in how this younger generation stands up and makes videos. It’s about the education of people and spreading the message as influencers on [social media]. \u003c/span>\u003c/p>\n\u003cp>\u003cb>You’re vocal about supporting local businesses like \u003c/b>\u003ca href=\"https://www.instagram.com/tostadas.sj/\">\u003cb>Tostadas\u003c/b>\u003c/a>\u003cb> and its sister restaurants, the coffeeshop \u003c/b>\u003ca href=\"https://www.instagram.com/conazucarcafe/\">\u003cb>Con Azúcar Cafe\u003c/b>\u003c/a>\u003cb> and the newly opened \u003c/b>\u003ca href=\"https://www.instagram.com/tostadasprime/\">\u003cb>Tostadas Prime\u003c/b>\u003c/a>\u003cb>. What do you like about these restaurants?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">These locations are Latino-owned. When we put money back into our communities instead of corporations, that’s a resource. Our communities don’t always have much of it. These places provide jobs for people, and they outsource their ingredients responsibly. Having a Latino coffee shop [like Con Azúcar] is important. There are thousands of Starbucks in San Jose. But you can go around the corner and keep the money in your community. These places are doing it responsibly and giving back. For example, they support my nonprofit, \u003c/span>\u003ca href=\"https://opencorporates.com/companies/us_ca/C4574861\">\u003cspan style=\"font-weight: 400\">Celebration Nation Inc\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. We have had multiple times when they let me borrow equipment for my toy drive. We help each other, repost our stuff, anything we need from each other. The owners have \u003c/span>\u003ca href=\"https://www.kqed.org/news/11917125/bay-area-daca-recipients-have-mixed-emotions-on-10-year-anniversary\">DACA\u003c/a>\u003cspan style=\"font-weight: 400\"> like me.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Tostadas is one of my favorite places. They’ve been around for a while. They have vegan options, and it’s very cultural. The pandemic took a hit on them, but they’re still around. \u003ca href=\"https://www.instagram.com/reel/CjtyUQrNYsG/?utm_source=ig_web_copy_link\">Tostadas Prime\u003c/a>] is more luxury. If people order a certain dish, a percentage will go to a nonprofit and help farm workers. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">These restaurants employ around 200 people. It’s important to put money back into our community. When we shop for food, it’s usually corporate. It’s a business and there are lots of chains. It takes a toll on our bodies and health. They’re mass producing on demand and introducing pesticides and poison. I’m vocal about eating organic. It helps us and the farm workers. Big corporations profit from us. We need to go back to how our ancestors were eating, harvesting whatever they could and sharing it with their neighbors, keeping it local and small batch. If San Jose had its own food system, that would be massive.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13920530\" class=\"wp-caption alignnone\" style=\"max-width: 1928px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13920530\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/flor-mural.jpg\" alt=\"A young Latina stands in front of a mural painted inside a restaurant, depicting two undocumented Latino brothers shaking hands\" width=\"1928\" height=\"1271\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/flor-mural.jpg 1928w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/flor-mural-800x527.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/flor-mural-1020x672.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/flor-mural-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/flor-mural-768x506.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/flor-mural-1536x1013.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/flor-mural-1920x1266.jpg 1920w\" sizes=\"(max-width: 1928px) 100vw, 1928px\">\u003cfigcaption class=\"wp-caption-text\">One of Martinez Zaragoza’s favorite restaurants, Tostadas, is owned by DACA recipient brothers Alex and Victor Garcia, portrayed here in a mural. \u003ccite>(Jordan Hayes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>You mentioned your nonprofit. Tell us more about it.\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I started a nonprofit [\u003ca href=\"https://www.celebration-nation.org/\">Celebration Nation\u003c/a>] to support farm workers. We have a food bank program for them. We serve about 10,000 workers every month, across six towns in California. It’s volunteer-run. It’s basically to fill the gap around food insecurity with farm workers. There’s no reason those who feed us should be hungry. They’re the lowest paid workforce in the nation. Their families suffer. [They usually get served] food that lacks nutrition, which leads to health issues in the future. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">We serve different languages, including Triqui and Mixtec. We have translators to prevent language barriers for accessing food banks. There are lots of reasons that farm workers get excluded from assistance. Having worked in the field helps me to get trust and know what’s going on. I went viral in 2020 during the fires, smoke, heat waves, pandemic. \u003c/span>\u003ca href=\"https://www.instagram.com/p/CDzEYHhpbEC/?utm_source=ig_web_copy_link\">\u003cspan style=\"font-weight: 400\">I expressed my frustration during the conditions\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, and \u003ca href=\"https://www.instagram.com/p/CEGjH1_pNjz/?utm_source=ig_web_copy_link\">I was telling people to pick their own vegetables\u003c/a>. I used to be a worker so I have insight into the details.\u003c/span>\u003c/p>\n\u003cp>Our next project is creating an educational program accessible on Web.3 and we will be utilizing blockchain technology to educate marginalized youth.\u003c/p>\n\u003cp>\u003cb>You currently have \u003c/b>\u003ca href=\"https://www.kqed.org/news/11917125/bay-area-daca-recipients-have-mixed-emotions-on-10-year-anniversary\">\u003cb>DACA\u003c/b>\u003c/a>\u003cb>. How has that impacted your life?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It has honestly helped me so much. It allowed me to get a driver’s license and a Social Security number. It shielded me from deportation. It lets me go about my day more comfortably. I have to renew it every two years. Having [Social Security] literally allows me to do business, to apply for loans, to apply for government grants. During the pandemic my event company was able to get a government grant because of my social. Also, I was able to get a stimulus check, unlike many farm workers who are undocumented. It definitely changed my life, and it sucks that it’s not available for more people. \u003c/span>\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">DACA stopped accepting new applicants about two years ago. Trump was pushing the issue, trying to get rid of it every year. He left a lasting impact on the status of DACA, and \u003c/span>\u003ca href=\"https://www.texastribune.org/2021/07/16/new-article-1626468650daca-texas-judge/\">\u003cspan style=\"font-weight: 400\">a Texas judge ended applications\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. DACA doesn’t exist for the new generation. This month we’re waiting to see what happens — they’re supposed to \u003ca href=\"https://www.npr.org/2022/10/05/1127107147/an-appeals-court-rules-against-daca-but-the-program-continues-for-now\">share new information\u003c/a>. There is so much uncertainty, it sucks. We work for our communities, we’re contributing to the economy, doing our part for San Jose, providing jobs. This is people’s livelihoods. It’s about making an impact on the city, state, nation. We’re dreamers but we don’t sleep. \u003c/span>\u003c/p>\n\u003cp>\u003cb>What are you currently working on, and what’s on your mind?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>I have a food company that’s coming soon. I haven’t announced it officially yet, but we’re going to sell chiles secos, spices, nuts and cultura from México. It’ll have its roots in México.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">At the end of the day I have DACA. I have to create my own path and be in control of my future. I have to make choices that help me and my community. DACA and immigration reform are important. Immigration reform could help 11 to 12 million people, including our parents and the next generation. I organize rallies in San Jose and collaborate with other social justice groups like \u003c/span>\u003ca href=\"https://www.pactsj.org/\">\u003cspan style=\"font-weight: 400\">PACT [People Acting in Community Together]\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. They’ve always included me and my mom. She’s in Mexico now and can’t come back. But when she was here she had a community with PACT and had an outlet to advocate as an immigrant mom. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I try to provide that for women in my nonprofit. We’re run by moms and volunteers. They have a community and they throw their own parties. I like to lead the way when I can and step up. I wouldn’t change it. \u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">Flor’s work can be seen \u003c/span>\u003c/i>\u003ca href=\"https://www.instagram.com/flowerinspanish/\">\u003ci>\u003cspan style=\"font-weight: 400\">online\u003c/span>\u003c/i>\u003c/a>\u003ci>\u003cspan style=\"font-weight: 400\"> and at her nonprofit, \u003c/span>\u003c/i>\u003ca href=\"https://www.celebration-nation.org/\">\u003ci>\u003cspan style=\"font-weight: 400\">Celebration Nation\u003c/span>\u003c/i>\u003c/a>\u003ci>\u003cspan style=\"font-weight: 400\"> (3031 Tisch Way, 110 Plaza West, San Jose). \u003c/span>\u003c/i>\u003ca href=\"https://www.instagram.com/conazucarcafe/\">\u003ci>\u003cspan style=\"font-weight: 400\">Con Azúcar Cafe\u003c/span>\u003c/i>\u003c/a>\u003ci>\u003cspan style=\"font-weight: 400\"> is open M–F from 6 a.m. to 6 p.m. and Sat.–Sun. 7 a.m. to 6 p.m. (101 E Santa Clara St., San Jose). Tostadas has two locations in San Jose and a newly opened Tostadas Prime in Santa Clara. \u003c/span>\u003c/i>\u003ca href=\"https://www.instagram.com/tostadas.sj/\">\u003ci>\u003cspan style=\"font-weight: 400\">Check their page\u003c/span>\u003c/i>\u003c/a>\u003ci>\u003cspan style=\"font-weight: 400\"> for updates. Special thanks to \u003ca href=\"https://www.instagram.com/imrealbasic/\">Jordan Hayes\u003c/a> for his photography and videography.\u003c/span>\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Meet Josh 'JB' Balogh, the South Bay Coach Making Skating Accessible to a New Generation",
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"content": "\u003cp>Josh “JB” Balogh’s YouTube channel is impressive: there’s footage of him grinding on stair rails and doing 360-degree flips in the air, as if a thin piece of wood and four wheels give him gravity-defying powers. But when I meet him at Sunnyvale’s Fair Oaks Skate Park, the 36-year-old South Bay skateboarder is coaching a 6-year-old girl in a skirt, pink helmet and matching elbow and knee pads.\u003c/p>\n\u003cp>That 6-year-old is \u003ca href=\"https://www.instagram.com/cutemuffing/\" target=\"_blank\" rel=\"noopener noreferrer\">Grace Zheng\u003c/a>, a student of Balogh’s. The Zheng family discovered Balogh through his YouTube channel, \u003ca href=\"https://www.youtube.com/skateparklessons\">S\u003c/a>\u003ca href=\"https://www.youtube.com/skateparklessons\" target=\"_blank\" rel=\"noopener noreferrer\">kate Park Lessons\u003c/a>. His videos are all about skating—tutorials on the basics, explanations on complex tricks and more. Although Balogh has competed nationally, he’s gained most of his popularity through teaching. He started Skate Park Lessons in 2020 and, in the two years since, he’s amassed 66,000 YouTube subscribers. Balogh has also been holding in-person lessons—under the name Pro Skate Lessons—at Fair Oaks Park for nearly 20 years, making him a beloved figure in the Bay Area skate scene.\u003c/p>\n\u003cp>[aside postID=\"news_11653010,news_11698821\"]Balogh started skating at 9 years old in his Pennsylvania hometown and became a pro skater at 23 in the Bay Area. In 2008, he competed in the local division of the \u003ca href=\"http://www.timbrauch.com/contest.html\" target=\"_blank\" rel=\"noopener noreferrer\">10th Annual Tim Brauch Memorial Contest\u003c/a> and went on to place fifth in the professional category.\u003c/p>\n\u003cp>His experience with teaching started years before he began competing. In his teens, Balogh frequented the now-closed Vans Park at Milpitas’ Great Mall. At the age of 14, he caught the attention of the park’s seasoned skaters, performing tricks that were uncommon to see someone do at his age.\u003c/p>\n\u003cp>“People would come up to me and say, ‘You skate really well, how’d you learn so fast and so young? Can you help me?’” says Balogh. “They kept coming back and asking for more. Sometimes people would tip me, and eventually, it turned into a job.”\u003c/p>\n\u003cfigure id=\"attachment_13919538\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Skatepark-Lesson-08.26.22-3-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13919538\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Skatepark-Lesson-08.26.22-3-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Skatepark-Lesson-08.26.22-3-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Skatepark-Lesson-08.26.22-3-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Skatepark-Lesson-08.26.22-3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Skatepark-Lesson-08.26.22-3-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Skatepark-Lesson-08.26.22-3-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Skatepark-Lesson-08.26.22-3-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Skatepark-Lesson-08.26.22-3-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Josh ‘JB’ Balogh has earned a cult following for both his online and in-person coaching. \u003ccite>(Joy Zheng)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It only seemed natural that Balogh would pursue teaching full time. In 2008, he took a job at California’s largest skate park, San Jose’s Lake Cunningham Action Sports Park, where he ran lessons, camps and contests for kids and adults of all skill levels. Balogh has also taught for the YMCA and worked as a professional mentor through nonprofits in East San Jose. Throughout these different roles, Balogh continued to run Pro Skate Lessons.\u003c/p>\n\u003cp>“It’s awesome to watch people grow and go through life,” Balogh says. “A lot of guys that come here have troubles and they’re struggling. They spend a lot of time skating, and then they kinda find something else that they love, and then they start investing time into that. Hopefully, it builds good habits that allow them to succeed and do better.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=1M1XywlWink\u003c/p>\n\u003cp>In the South Bay, skaters of all demographics, both experienced and new, can be seen dropping into bowls at local skate parks. Veteran pro skaters such as Circle-A Skateboards owner Bob Schmelzer and the world-renowned Steve “Cab” Caballero—once named “skater of the century” by \u003cem>Thrasher\u003c/em> magazine—helped shape the culture in San Jose and surrounding towns.\u003c/p>\n\u003cp>Meanwhile, new skaters are livening up the scene and forming female-, queer- and trans-friendly organizations, like \u003ca href=\"https://www.skatelikeagirl.com/\">Skate Like a Girl SF Bay Area\u003c/a>. Meetups are happening at suburban skate parks, schools, parking lots and just about any place with smooth asphalt. The skating scene is more alive than ever.\u003c/p>\n\u003cp>“Skating’s kinda changing and it’s starting to include a lot more people,” Balogh says. “It’s cool to see more people trying it here. A lot more people are falling in love with it.”\u003c/p>\n\u003cp>The clients that Balogh takes on reflect the diversity of the community. He teaches everybody ages 5 and up. A memorable recent student was a 70-year-old retired P.E. teacher: “He told his wife, ‘I need to learn how to [ride a] motorcycle or skateboard,’ and she was immediately like, ‘skateboard,’” recalls Balogh. “So he showed up for a lesson, I taught him how to skate, and he kind of ‘X’d’ it off his bucket list.”\u003c/p>\n\u003cp>In her pink skating ensemble, 6-year-old Grace defies the stereotypes of a female skater. “With skateboarding, you can also be pretty,” says Joy Zheng, Grace’s mom. “The ‘pretty’ and the sport are not opposite to each other.”\u003c/p>\n\u003cfigure id=\"attachment_13919542\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Skatepark-Lesson-08.26.22-5-1-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13919542\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Skatepark-Lesson-08.26.22-5-1-800x533.jpg\" alt=\"a young girl and a man do a trick in a skate park\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Skatepark-Lesson-08.26.22-5-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Skatepark-Lesson-08.26.22-5-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Skatepark-Lesson-08.26.22-5-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Skatepark-Lesson-08.26.22-5-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Skatepark-Lesson-08.26.22-5-1-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Skatepark-Lesson-08.26.22-5-1-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Skatepark-Lesson-08.26.22-5-1-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Grace Zheng skating with Josh ‘JB’ Balogh. \u003ccite>(Joy Zheng)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Watching Balogh’s lesson with Grace reminded me of my own experience with skating. Growing up, I had tried skateboarding a number of times, but hadn’t truly gotten into it until the beginning of the COVID-19 pandemic. Even now, in my twenties, the skating scene can seem just as intimidating as it was when I was a kid. I’d always felt that I had to know what I was doing.\u003c/p>\n\u003cp>Luckily for me, that changed when I came across Balogh’s YouTube channel. It was a one-stop shop for all skaters, including a beginner such as myself. Balogh and Skate Park Lessons’ teachings made skating, as well as skate parks, feel welcoming and accessible to all. That ethos is apparent in his teachings—both in his videos and even more so after I witnessed his in-person lesson with Grace.\u003c/p>\n\u003cp>Balogh has a unique, step-by-step way of teaching that any student can understand. “There are many skateboarding tutorials online—how to do this, how to do that,” Joy says. “But it seems like many of them are missing the key point. Why am I following your steps but can’t do your tricks? But [Balogh], he knows the key points, and he points them out. Like, ‘Oh! This is the part that I missed.’”\u003c/p>\n\u003cp>Most importantly, Balogh is driven by a higher purpose to help others, teaching the habits that have helped him in his life in addition to skating fundamentals. His purpose, combined with his talent and patience, ensure a new generation of skaters can take off.\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>Josh “JB” Balogh’s YouTube channel is impressive: there’s footage of him grinding on stair rails and doing 360-degree flips in the air, as if a thin piece of wood and four wheels give him gravity-defying powers. But when I meet him at Sunnyvale’s Fair Oaks Skate Park, the 36-year-old South Bay skateboarder is coaching a 6-year-old girl in a skirt, pink helmet and matching elbow and knee pads.\u003c/p>\n\u003cp>That 6-year-old is \u003ca href=\"https://www.instagram.com/cutemuffing/\" target=\"_blank\" rel=\"noopener noreferrer\">Grace Zheng\u003c/a>, a student of Balogh’s. The Zheng family discovered Balogh through his YouTube channel, \u003ca href=\"https://www.youtube.com/skateparklessons\">S\u003c/a>\u003ca href=\"https://www.youtube.com/skateparklessons\" target=\"_blank\" rel=\"noopener noreferrer\">kate Park Lessons\u003c/a>. His videos are all about skating—tutorials on the basics, explanations on complex tricks and more. Although Balogh has competed nationally, he’s gained most of his popularity through teaching. He started Skate Park Lessons in 2020 and, in the two years since, he’s amassed 66,000 YouTube subscribers. Balogh has also been holding in-person lessons—under the name Pro Skate Lessons—at Fair Oaks Park for nearly 20 years, making him a beloved figure in the Bay Area skate scene.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Balogh started skating at 9 years old in his Pennsylvania hometown and became a pro skater at 23 in the Bay Area. In 2008, he competed in the local division of the \u003ca href=\"http://www.timbrauch.com/contest.html\" target=\"_blank\" rel=\"noopener noreferrer\">10th Annual Tim Brauch Memorial Contest\u003c/a> and went on to place fifth in the professional category.\u003c/p>\n\u003cp>His experience with teaching started years before he began competing. In his teens, Balogh frequented the now-closed Vans Park at Milpitas’ Great Mall. At the age of 14, he caught the attention of the park’s seasoned skaters, performing tricks that were uncommon to see someone do at his age.\u003c/p>\n\u003cp>“People would come up to me and say, ‘You skate really well, how’d you learn so fast and so young? Can you help me?’” says Balogh. “They kept coming back and asking for more. Sometimes people would tip me, and eventually, it turned into a job.”\u003c/p>\n\u003cfigure id=\"attachment_13919538\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Skatepark-Lesson-08.26.22-3-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13919538\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Skatepark-Lesson-08.26.22-3-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Skatepark-Lesson-08.26.22-3-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Skatepark-Lesson-08.26.22-3-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Skatepark-Lesson-08.26.22-3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Skatepark-Lesson-08.26.22-3-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Skatepark-Lesson-08.26.22-3-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Skatepark-Lesson-08.26.22-3-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Skatepark-Lesson-08.26.22-3-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Josh ‘JB’ Balogh has earned a cult following for both his online and in-person coaching. \u003ccite>(Joy Zheng)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It only seemed natural that Balogh would pursue teaching full time. In 2008, he took a job at California’s largest skate park, San Jose’s Lake Cunningham Action Sports Park, where he ran lessons, camps and contests for kids and adults of all skill levels. Balogh has also taught for the YMCA and worked as a professional mentor through nonprofits in East San Jose. Throughout these different roles, Balogh continued to run Pro Skate Lessons.\u003c/p>\n\u003cp>“It’s awesome to watch people grow and go through life,” Balogh says. “A lot of guys that come here have troubles and they’re struggling. They spend a lot of time skating, and then they kinda find something else that they love, and then they start investing time into that. Hopefully, it builds good habits that allow them to succeed and do better.”\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/1M1XywlWink'\n title='//www.youtube.com/embed/1M1XywlWink'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In the South Bay, skaters of all demographics, both experienced and new, can be seen dropping into bowls at local skate parks. Veteran pro skaters such as Circle-A Skateboards owner Bob Schmelzer and the world-renowned Steve “Cab” Caballero—once named “skater of the century” by \u003cem>Thrasher\u003c/em> magazine—helped shape the culture in San Jose and surrounding towns.\u003c/p>\n\u003cp>Meanwhile, new skaters are livening up the scene and forming female-, queer- and trans-friendly organizations, like \u003ca href=\"https://www.skatelikeagirl.com/\">Skate Like a Girl SF Bay Area\u003c/a>. Meetups are happening at suburban skate parks, schools, parking lots and just about any place with smooth asphalt. The skating scene is more alive than ever.\u003c/p>\n\u003cp>“Skating’s kinda changing and it’s starting to include a lot more people,” Balogh says. “It’s cool to see more people trying it here. A lot more people are falling in love with it.”\u003c/p>\n\u003cp>The clients that Balogh takes on reflect the diversity of the community. He teaches everybody ages 5 and up. A memorable recent student was a 70-year-old retired P.E. teacher: “He told his wife, ‘I need to learn how to [ride a] motorcycle or skateboard,’ and she was immediately like, ‘skateboard,’” recalls Balogh. “So he showed up for a lesson, I taught him how to skate, and he kind of ‘X’d’ it off his bucket list.”\u003c/p>\n\u003cp>In her pink skating ensemble, 6-year-old Grace defies the stereotypes of a female skater. “With skateboarding, you can also be pretty,” says Joy Zheng, Grace’s mom. “The ‘pretty’ and the sport are not opposite to each other.”\u003c/p>\n\u003cfigure id=\"attachment_13919542\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Skatepark-Lesson-08.26.22-5-1-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13919542\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Skatepark-Lesson-08.26.22-5-1-800x533.jpg\" alt=\"a young girl and a man do a trick in a skate park\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Skatepark-Lesson-08.26.22-5-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Skatepark-Lesson-08.26.22-5-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Skatepark-Lesson-08.26.22-5-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Skatepark-Lesson-08.26.22-5-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Skatepark-Lesson-08.26.22-5-1-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Skatepark-Lesson-08.26.22-5-1-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Skatepark-Lesson-08.26.22-5-1-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Grace Zheng skating with Josh ‘JB’ Balogh. \u003ccite>(Joy Zheng)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Watching Balogh’s lesson with Grace reminded me of my own experience with skating. Growing up, I had tried skateboarding a number of times, but hadn’t truly gotten into it until the beginning of the COVID-19 pandemic. Even now, in my twenties, the skating scene can seem just as intimidating as it was when I was a kid. I’d always felt that I had to know what I was doing.\u003c/p>\n\u003cp>Luckily for me, that changed when I came across Balogh’s YouTube channel. It was a one-stop shop for all skaters, including a beginner such as myself. Balogh and Skate Park Lessons’ teachings made skating, as well as skate parks, feel welcoming and accessible to all. That ethos is apparent in his teachings—both in his videos and even more so after I witnessed his in-person lesson with Grace.\u003c/p>\n\u003cp>Balogh has a unique, step-by-step way of teaching that any student can understand. “There are many skateboarding tutorials online—how to do this, how to do that,” Joy says. “But it seems like many of them are missing the key point. Why am I following your steps but can’t do your tricks? But [Balogh], he knows the key points, and he points them out. Like, ‘Oh! This is the part that I missed.’”\u003c/p>\n\u003cp>Most importantly, Balogh is driven by a higher purpose to help others, teaching the habits that have helped him in his life in addition to skating fundamentals. His purpose, combined with his talent and patience, ensure a new generation of skaters can take off.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "life-between-the-stages-lil-kayla-and-san-jose-jazz",
"title": "Life Between the Stages: Lil Kayla and San Jose Jazz",
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"content": "\u003cp>Mentally I’m somewhere between a Lil Kayla show and the San Jose Jazz Summer Festival. Yup, that’s where I’m at in this stage in life. It clicked this weekend after attending both.\u003c/p>\n\u003cp>I’m an old head at the Lil Kayla show, and a youngsta at the jazz fest. A position that grants me a unique view on the culture around me. I had a moment of gratitude this weekend for being where I am; I like this stage, the in-between stage.\u003c/p>\n\u003cfigure id=\"attachment_13917669\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13917669 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/DSC04034-e1660629307215-800x617.jpg\" alt=\"Fans capture footage as Lil Kayla performs at The Chapel in San Francisco on Friday August 12, 2022.\" width=\"800\" height=\"617\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/DSC04034-e1660629307215-800x617.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/DSC04034-e1660629307215-1020x786.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/DSC04034-e1660629307215-160x123.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/DSC04034-e1660629307215-768x592.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/DSC04034-e1660629307215.jpg 1288w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Fans capture footage as Lil Kayla performs at The Chapel in San Francisco on Friday, Aug. 12, 2022. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.instagram.com/thereal_lilkayla/\" target=\"_blank\" rel=\"noopener noreferrer\">Lil Kayla\u003c/a>, a young lyricist with a big personality and a larger following, is the pride of San Francisco’s Sunnydale projects.\u003c/p>\n\u003cp>On Friday night she brought out the neighborhood, devoted fans and her grandmother. A large portion of the audience inside The Chapel were young women with Xs marked on their hands, a sign of being under the legal drinking age.\u003c/p>\n\u003cp>Girls with big eyelashes passed Backwoods back and forth, others revealed braces on their teeth as they smiled. I saw a person with a ring light attached to the back of their phone—a handheld personal stage, ready for her to show out.\u003c/p>\n\u003cfigure id=\"attachment_13917676\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917676\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/6DDFD960-B179-4C3C-A6AE-00090D35D650-800x535.jpg\" alt=\"A portion of the crowd at the Lil Kayla show at The Chapel in San Francisco on August 12, 2022. \" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/6DDFD960-B179-4C3C-A6AE-00090D35D650-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/6DDFD960-B179-4C3C-A6AE-00090D35D650-1020x683.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/6DDFD960-B179-4C3C-A6AE-00090D35D650-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/6DDFD960-B179-4C3C-A6AE-00090D35D650-768x514.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/6DDFD960-B179-4C3C-A6AE-00090D35D650.jpg 1082w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A portion of the crowd at the Lil Kayla show at The Chapel in San Francisco on Aug. 12, 2022. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Opening acts from San Francisco’s \u003ca href=\"https://www.instagram.com/loafyprincesss/\" target=\"_blank\" rel=\"noopener noreferrer\">Mya’Mya\u003c/a> and East Oakland’s “hyphy princess” \u003ca href=\"https://www.instagram.com/princessjourney_/\" target=\"_blank\" rel=\"noopener noreferrer\">Journey B. The Reason\u003c/a> were interspersed with sets from \u003ca href=\"https://www.instagram.com/djshellheart/\" target=\"_blank\" rel=\"noopener noreferrer\">DJ ShellHeart\u003c/a> and \u003ca href=\"https://www.instagram.com/drewwwbanga/\" target=\"_blank\" rel=\"noopener noreferrer\">Drew Banga\u003c/a>. The crowd was already going when event host \u003ca href=\"https://www.instagram.com/troyllf/\" target=\"_blank\" rel=\"noopener noreferrer\">Troy LLF \u003c/a>announced Lil Kayla was up next.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postID='arts_13910972']Phones came out, camera lights came on, arms went skyward, and the from the moment she walked on the stage the crowd recited Lil Kayla’s lyrics bar for bar.\u003c/p>\n\u003cp>About two-thirds of the way into her set, Lil Kayla invited a few audience members to come on stage and spit her rhymes without skipping a word. Three out of four of the women who participated did so without an issue. Crowd participation on another level. Everyone was Lil Kayla that night.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Lil Kayla - One More Chance (OFFICIAL MUSIC VIDEO) dir. by KIING FILMZ\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/7ngL8H5yRQw?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>While standing directly next to the stage taking photos of Lil Kayla, I got a tap on my shoulder. It was a younger brother who was wearing a ski mask, despite the Tucson-like temperatures. Before asking if he could get past me to get on stage, he said, “Excuse me, sir.”\u003c/p>\n\u003cp>That’s where I’m at in life!? “Sir,” in the middle of a Bay Area hip-hop function? Well I’ll be damned. Let me take my geriatric ass to a jazz festival.\u003c/p>\n\u003cfigure id=\"attachment_13917662\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917662\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/6A7B1855-B118-4476-9279-C911868C6F05-800x535.jpg\" alt=\"Radio host Greg Bridges and photographer Robert Birnbach engage in a conversation about jazz, photography and more during the 2022 San Jose Jazz Summer Fest on Saturday August 13, 2022. \" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/6A7B1855-B118-4476-9279-C911868C6F05-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/6A7B1855-B118-4476-9279-C911868C6F05-1020x683.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/6A7B1855-B118-4476-9279-C911868C6F05-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/6A7B1855-B118-4476-9279-C911868C6F05-768x514.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/6A7B1855-B118-4476-9279-C911868C6F05.jpg 1082w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Radio host Greg Bridges and photographer Robert Birnbach engage in a conversation about jazz, photography and more during the 2022 San Jose Jazz Summer Fest on Saturday, Aug. 13, 2022. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The next morning I drove to the San Jose Jazz Summer Fest, and posted in the back of the Tech Interactive’s New Venture Hall. On stage sat jazz scholar and radio show host \u003ca href=\"https://www.instagram.com/g1rhythm/\" target=\"_blank\" rel=\"noopener noreferrer\">Greg Bridges\u003c/a> and photographer \u003ca href=\"https://www.instagram.com/rbsphoto/\" target=\"_blank\" rel=\"noopener noreferrer\">Robert Birnbach\u003c/a>.\u003c/p>\n\u003cp>“Photographers have a way of adding to the story that the music is telling,” Bridges said at the onset of the conversation. Birnbach discussed best practices for photographing musicians and their instruments from different angles on stage, among other topics.\u003c/p>\n\u003cp>Jumping around from photographic example to photographic example as he talked, Birnbach told the audience his preselected collection of images had gotten out of order. As Birnbach fished for a specific picture, Bridges reminded the audience, “This is jazz, we improvise.”\u003c/p>\n\u003cfigure id=\"attachment_13917674\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917674\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/DSC04134-1-800x535.jpg\" alt=\"Alabama Mike poses for a photo after performing at the at the 2022 San José Jazz Summer Festival.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/DSC04134-1-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/DSC04134-1-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/DSC04134-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/DSC04134-1-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/DSC04134-1-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/DSC04134-1.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Alabama Mike poses for a photo after performing at the 2022 San Jose Jazz Summer Fest. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I went into the jazz fest not knowing what to expect. Improvisation was my entire game plan.\u003c/p>\n\u003cp>After the August sun bounced off of \u003ca href=\"https://www.instagram.com/alabama_mike_blues/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Alabama Mike\u003c/a>‘s gold teeth as he ran through his set, next up was \u003ca href=\"https://diunna.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Diunna Greenleaf\u003c/a>. As she settled into a chair on stage, she said that sitting on stage isn’t her normal forte, but if she were to fall no one in the audience would be strong enough to pick her up.\u003c/p>\n\u003cp>A big woman with an even larger voice, she held the crowd down from her perch. That is, until she deemed that the crowd wasn’t giving back what she was putting out.\u003c/p>\n\u003cp>During Greenleaf’s rendition of Ray Charles’ “Hard Times,” she got out of the chair and slowly walked down the stage’s steps to join the crowd. The grass where people were sprawled on blankets chillin’ became an impromptu stage. With no microphone, standing in the middle of the crowd and nearly wailing, Greenleaf pushed audience members’ emotional buttons. One person in a white dress was in tears. Another in an orange shirt clasped their hands together, as if in prayer.\u003c/p>\n\u003cfigure id=\"attachment_13917663\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917663\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/DSC04162-e1660627054394-800x561.jpg\" alt='Diunna Greenleaf performs \"Hard Times\" in front of a captive audience at the 2022 San José Jazz Summer Festival.' width=\"800\" height=\"561\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/DSC04162-e1660627054394-800x561.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/DSC04162-e1660627054394-1020x715.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/DSC04162-e1660627054394-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/DSC04162-e1660627054394-768x538.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/DSC04162-e1660627054394.jpg 1422w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Diunna Greenleaf performs “Hard Times” in front of a captive audience at the 2022 San Jose Jazz Summer Fest. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What stage of grief produces this kind of art?\u003c/p>\n\u003cp>After Greenleaf’s performance, came \u003ca href=\"https://ragman.org/tribal-gold\" target=\"_blank\" rel=\"noopener noreferrer\">Tribal Gold\u003c/a>, a combination of the New Orleans Suspects and Big Chief Juan Pardo & the Golden Comanche. They hit the stage and it was instantly Mardi Gras, with the area in front of the stage becoming a dance floor—a sub-stage, if you will.\u003c/p>\n\u003cfigure id=\"attachment_13917668\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917668\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/DSC04203-800x535.jpg\" alt=\"Big Chief Juan Pardo & the Golden Comanche of Tribal Gold perform at the San José Jazz Summer Festival on Saturday August 13, 2022.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/DSC04203-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/DSC04203-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/DSC04203-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/DSC04203-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/DSC04203-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/DSC04203.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Big Chief Juan Pardo & the Golden Comanche of Tribal Gold perform at the San Jose Jazz Summer Fest on Saturday, Aug. 13, 2022. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A toddler dancing to the the jazz and blues got me thinking about the stages of life: how it’s less about age, and more about where your spirit is at that place and time. I’m clearly at that stage between hyphy and swinging jazz. But I still have questions.\u003c/p>\n\u003cp>How much say do we have in choosing what stage we’re on? Is the stage between stages a stage in itself? What differentiates those who love the limelight from those disabled by stage fright? If life is a series of stages, is it real or is it… staged?\u003c/p>\n\u003cfigure id=\"attachment_13917665\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917665\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/044A8378-0B30-4725-B697-E7F08469AFF4-800x535.jpg\" alt=\"Rapper Pallaví aka Fijiana watching friend and fellow rapper Stoni perform in the Regulars Only backyard on Saturday August 13, 2022.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/044A8378-0B30-4725-B697-E7F08469AFF4-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/044A8378-0B30-4725-B697-E7F08469AFF4-1020x683.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/044A8378-0B30-4725-B697-E7F08469AFF4-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/044A8378-0B30-4725-B697-E7F08469AFF4-768x514.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/044A8378-0B30-4725-B697-E7F08469AFF4.jpg 1082w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rapper Pallaví aka Fijiana watching friend and fellow rapper Stoni perform in the Regulars Only backyard on Saturday, Aug. 13, 2022. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>These thoughts ran through my head as I pushed north, up 880 to the final event of the evening: a backyard bonfire and performance at the Regulars Only house.\u003c/p>\n\u003cp>A long list of artists, including \u003ca href=\"https://www.instagram.com/pass510/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Passwurdz\u003c/a>, \u003ca href=\"https://www.instagram.com/iamfijiana/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Fijiana\u003c/a>, \u003ca href=\"https://www.instagram.com/mksmth_/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Mksmth\u003c/a>, \u003ca href=\"https://www.instagram.com/thedakotawytefoxx/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">The Dakota Wytefoxx\u003c/a>, \u003ca href=\"https://www.instagram.com/popit4gee/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Gee Pop\u003c/a>, \u003ca href=\"https://www.instagram.com/wantmoren8/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">WantMoren8\u003c/a>, \u003ca href=\"https://www.instagram.com/tia.nomore/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Tia Nomore\u003c/a>, \u003ca href=\"https://www.instagram.com/poosie_apex/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Poo$ie,\u003c/a> \u003ca href=\"https://www.instagram.com/princessjourney_/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">JourneyB tha Reason\u003c/a>, \u003ca href=\"https://www.instagram.com/kvnalln/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Kevin Allen\u003c/a>, \u003ca href=\"https://www.instagram.com/callherstoni/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Stoni\u003c/a> and more graced the stage.\u003c/p>\n\u003cp>The audience itself was full of talented individuals who could’ve easily rocked the mic with the scheduled performers. Folks like \u003ca href=\"https://www.instagram.com/mad.lines/\" target=\"_blank\" rel=\"noopener noreferrer\">MADlines\u003c/a> and \u003ca href=\"https://www.instagram.com/firstnameian/\" target=\"_blank\" rel=\"noopener noreferrer\">Ian Kelly\u003c/a>, \u003ca href=\"https://www.instagram.com/kingtahoe/\" target=\"_blank\" rel=\"noopener noreferrer\">King Tahoe \u003c/a>and \u003ca href=\"https://www.instagram.com/guapdad4000/\" target=\"_blank\" rel=\"noopener noreferrer\">Guapdad 4000\u003c/a>. \u003ca href=\"https://www.instagram.com/champgreen/\" target=\"_blank\" rel=\"noopener noreferrer\">Champ Green\u003c/a> held down the grill, while \u003ca href=\"https://www.instagram.com/rexxliferaj/\" target=\"_blank\" rel=\"noopener noreferrer\">Rexx Life Raj\u003c/a> was in full photographer mode.\u003c/p>\n\u003cfigure id=\"attachment_13917666\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917666\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/5491A041-12A5-452B-9767-0DA68D518390-800x535.jpg\" alt=\"Wantmoren8 spitting rhymes during a performance in the Regulars Only backyard on Saturday August 13, 2022.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/5491A041-12A5-452B-9767-0DA68D518390-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/5491A041-12A5-452B-9767-0DA68D518390-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/5491A041-12A5-452B-9767-0DA68D518390-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/5491A041-12A5-452B-9767-0DA68D518390-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/5491A041-12A5-452B-9767-0DA68D518390.jpg 1079w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Wantmoren8 spitting rhymes during a performance in the Regulars Only backyard on Saturday, Aug. 13, 2022. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At one point Raj hit the stage and grabbed the mic, just to take an orchestrated photo of the crowd. A sea of who’s-who. Smiles and peace signs. Only a portion of the full list of attendees that evening, but it captured the sentiment.\u003c/p>\n\u003cp>The view from the stage shows people at the function, and it shows a house in the background, one that’s being remodeled.\u003c/p>\n\u003cp>https://www.instagram.com/p/ChTIrgOvexd/?utm_source=ig_web_copy_link\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>This weekend was a reminder that it’s not always about reaching a new level or getting to that next platform, it’s more about appreciating the stage you’re on—even if you’re in between stages.\u003c/p>\n\n",
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"excerpt": "If you're one part hip-hop function and one part jazz festival, you're not alone, writes Pendarvis Harshaw.",
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"title": "Life Between the Stages: Lil Kayla and San Jose Jazz | KQED",
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"headline": "Life Between the Stages: Lil Kayla and San Jose Jazz",
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"subhead": "Lil Kayla, The San Jose Jazz ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Mentally I’m somewhere between a Lil Kayla show and the San Jose Jazz Summer Festival. Yup, that’s where I’m at in this stage in life. It clicked this weekend after attending both.\u003c/p>\n\u003cp>I’m an old head at the Lil Kayla show, and a youngsta at the jazz fest. A position that grants me a unique view on the culture around me. I had a moment of gratitude this weekend for being where I am; I like this stage, the in-between stage.\u003c/p>\n\u003cfigure id=\"attachment_13917669\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13917669 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/DSC04034-e1660629307215-800x617.jpg\" alt=\"Fans capture footage as Lil Kayla performs at The Chapel in San Francisco on Friday August 12, 2022.\" width=\"800\" height=\"617\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/DSC04034-e1660629307215-800x617.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/DSC04034-e1660629307215-1020x786.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/DSC04034-e1660629307215-160x123.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/DSC04034-e1660629307215-768x592.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/DSC04034-e1660629307215.jpg 1288w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Fans capture footage as Lil Kayla performs at The Chapel in San Francisco on Friday, Aug. 12, 2022. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.instagram.com/thereal_lilkayla/\" target=\"_blank\" rel=\"noopener noreferrer\">Lil Kayla\u003c/a>, a young lyricist with a big personality and a larger following, is the pride of San Francisco’s Sunnydale projects.\u003c/p>\n\u003cp>On Friday night she brought out the neighborhood, devoted fans and her grandmother. A large portion of the audience inside The Chapel were young women with Xs marked on their hands, a sign of being under the legal drinking age.\u003c/p>\n\u003cp>Girls with big eyelashes passed Backwoods back and forth, others revealed braces on their teeth as they smiled. I saw a person with a ring light attached to the back of their phone—a handheld personal stage, ready for her to show out.\u003c/p>\n\u003cfigure id=\"attachment_13917676\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917676\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/6DDFD960-B179-4C3C-A6AE-00090D35D650-800x535.jpg\" alt=\"A portion of the crowd at the Lil Kayla show at The Chapel in San Francisco on August 12, 2022. \" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/6DDFD960-B179-4C3C-A6AE-00090D35D650-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/6DDFD960-B179-4C3C-A6AE-00090D35D650-1020x683.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/6DDFD960-B179-4C3C-A6AE-00090D35D650-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/6DDFD960-B179-4C3C-A6AE-00090D35D650-768x514.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/6DDFD960-B179-4C3C-A6AE-00090D35D650.jpg 1082w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A portion of the crowd at the Lil Kayla show at The Chapel in San Francisco on Aug. 12, 2022. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Opening acts from San Francisco’s \u003ca href=\"https://www.instagram.com/loafyprincesss/\" target=\"_blank\" rel=\"noopener noreferrer\">Mya’Mya\u003c/a> and East Oakland’s “hyphy princess” \u003ca href=\"https://www.instagram.com/princessjourney_/\" target=\"_blank\" rel=\"noopener noreferrer\">Journey B. The Reason\u003c/a> were interspersed with sets from \u003ca href=\"https://www.instagram.com/djshellheart/\" target=\"_blank\" rel=\"noopener noreferrer\">DJ ShellHeart\u003c/a> and \u003ca href=\"https://www.instagram.com/drewwwbanga/\" target=\"_blank\" rel=\"noopener noreferrer\">Drew Banga\u003c/a>. The crowd was already going when event host \u003ca href=\"https://www.instagram.com/troyllf/\" target=\"_blank\" rel=\"noopener noreferrer\">Troy LLF \u003c/a>announced Lil Kayla was up next.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Phones came out, camera lights came on, arms went skyward, and the from the moment she walked on the stage the crowd recited Lil Kayla’s lyrics bar for bar.\u003c/p>\n\u003cp>About two-thirds of the way into her set, Lil Kayla invited a few audience members to come on stage and spit her rhymes without skipping a word. Three out of four of the women who participated did so without an issue. Crowd participation on another level. Everyone was Lil Kayla that night.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Lil Kayla - One More Chance (OFFICIAL MUSIC VIDEO) dir. by KIING FILMZ\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/7ngL8H5yRQw?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>While standing directly next to the stage taking photos of Lil Kayla, I got a tap on my shoulder. It was a younger brother who was wearing a ski mask, despite the Tucson-like temperatures. Before asking if he could get past me to get on stage, he said, “Excuse me, sir.”\u003c/p>\n\u003cp>That’s where I’m at in life!? “Sir,” in the middle of a Bay Area hip-hop function? Well I’ll be damned. Let me take my geriatric ass to a jazz festival.\u003c/p>\n\u003cfigure id=\"attachment_13917662\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917662\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/6A7B1855-B118-4476-9279-C911868C6F05-800x535.jpg\" alt=\"Radio host Greg Bridges and photographer Robert Birnbach engage in a conversation about jazz, photography and more during the 2022 San Jose Jazz Summer Fest on Saturday August 13, 2022. \" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/6A7B1855-B118-4476-9279-C911868C6F05-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/6A7B1855-B118-4476-9279-C911868C6F05-1020x683.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/6A7B1855-B118-4476-9279-C911868C6F05-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/6A7B1855-B118-4476-9279-C911868C6F05-768x514.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/6A7B1855-B118-4476-9279-C911868C6F05.jpg 1082w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Radio host Greg Bridges and photographer Robert Birnbach engage in a conversation about jazz, photography and more during the 2022 San Jose Jazz Summer Fest on Saturday, Aug. 13, 2022. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The next morning I drove to the San Jose Jazz Summer Fest, and posted in the back of the Tech Interactive’s New Venture Hall. On stage sat jazz scholar and radio show host \u003ca href=\"https://www.instagram.com/g1rhythm/\" target=\"_blank\" rel=\"noopener noreferrer\">Greg Bridges\u003c/a> and photographer \u003ca href=\"https://www.instagram.com/rbsphoto/\" target=\"_blank\" rel=\"noopener noreferrer\">Robert Birnbach\u003c/a>.\u003c/p>\n\u003cp>“Photographers have a way of adding to the story that the music is telling,” Bridges said at the onset of the conversation. Birnbach discussed best practices for photographing musicians and their instruments from different angles on stage, among other topics.\u003c/p>\n\u003cp>Jumping around from photographic example to photographic example as he talked, Birnbach told the audience his preselected collection of images had gotten out of order. As Birnbach fished for a specific picture, Bridges reminded the audience, “This is jazz, we improvise.”\u003c/p>\n\u003cfigure id=\"attachment_13917674\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917674\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/DSC04134-1-800x535.jpg\" alt=\"Alabama Mike poses for a photo after performing at the at the 2022 San José Jazz Summer Festival.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/DSC04134-1-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/DSC04134-1-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/DSC04134-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/DSC04134-1-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/DSC04134-1-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/DSC04134-1.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Alabama Mike poses for a photo after performing at the 2022 San Jose Jazz Summer Fest. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I went into the jazz fest not knowing what to expect. Improvisation was my entire game plan.\u003c/p>\n\u003cp>After the August sun bounced off of \u003ca href=\"https://www.instagram.com/alabama_mike_blues/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Alabama Mike\u003c/a>‘s gold teeth as he ran through his set, next up was \u003ca href=\"https://diunna.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Diunna Greenleaf\u003c/a>. As she settled into a chair on stage, she said that sitting on stage isn’t her normal forte, but if she were to fall no one in the audience would be strong enough to pick her up.\u003c/p>\n\u003cp>A big woman with an even larger voice, she held the crowd down from her perch. That is, until she deemed that the crowd wasn’t giving back what she was putting out.\u003c/p>\n\u003cp>During Greenleaf’s rendition of Ray Charles’ “Hard Times,” she got out of the chair and slowly walked down the stage’s steps to join the crowd. The grass where people were sprawled on blankets chillin’ became an impromptu stage. With no microphone, standing in the middle of the crowd and nearly wailing, Greenleaf pushed audience members’ emotional buttons. One person in a white dress was in tears. Another in an orange shirt clasped their hands together, as if in prayer.\u003c/p>\n\u003cfigure id=\"attachment_13917663\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917663\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/DSC04162-e1660627054394-800x561.jpg\" alt='Diunna Greenleaf performs \"Hard Times\" in front of a captive audience at the 2022 San José Jazz Summer Festival.' width=\"800\" height=\"561\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/DSC04162-e1660627054394-800x561.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/DSC04162-e1660627054394-1020x715.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/DSC04162-e1660627054394-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/DSC04162-e1660627054394-768x538.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/DSC04162-e1660627054394.jpg 1422w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Diunna Greenleaf performs “Hard Times” in front of a captive audience at the 2022 San Jose Jazz Summer Fest. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What stage of grief produces this kind of art?\u003c/p>\n\u003cp>After Greenleaf’s performance, came \u003ca href=\"https://ragman.org/tribal-gold\" target=\"_blank\" rel=\"noopener noreferrer\">Tribal Gold\u003c/a>, a combination of the New Orleans Suspects and Big Chief Juan Pardo & the Golden Comanche. They hit the stage and it was instantly Mardi Gras, with the area in front of the stage becoming a dance floor—a sub-stage, if you will.\u003c/p>\n\u003cfigure id=\"attachment_13917668\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917668\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/DSC04203-800x535.jpg\" alt=\"Big Chief Juan Pardo & the Golden Comanche of Tribal Gold perform at the San José Jazz Summer Festival on Saturday August 13, 2022.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/DSC04203-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/DSC04203-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/DSC04203-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/DSC04203-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/DSC04203-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/DSC04203.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Big Chief Juan Pardo & the Golden Comanche of Tribal Gold perform at the San Jose Jazz Summer Fest on Saturday, Aug. 13, 2022. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A toddler dancing to the the jazz and blues got me thinking about the stages of life: how it’s less about age, and more about where your spirit is at that place and time. I’m clearly at that stage between hyphy and swinging jazz. But I still have questions.\u003c/p>\n\u003cp>How much say do we have in choosing what stage we’re on? Is the stage between stages a stage in itself? What differentiates those who love the limelight from those disabled by stage fright? If life is a series of stages, is it real or is it… staged?\u003c/p>\n\u003cfigure id=\"attachment_13917665\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917665\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/044A8378-0B30-4725-B697-E7F08469AFF4-800x535.jpg\" alt=\"Rapper Pallaví aka Fijiana watching friend and fellow rapper Stoni perform in the Regulars Only backyard on Saturday August 13, 2022.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/044A8378-0B30-4725-B697-E7F08469AFF4-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/044A8378-0B30-4725-B697-E7F08469AFF4-1020x683.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/044A8378-0B30-4725-B697-E7F08469AFF4-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/044A8378-0B30-4725-B697-E7F08469AFF4-768x514.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/044A8378-0B30-4725-B697-E7F08469AFF4.jpg 1082w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rapper Pallaví aka Fijiana watching friend and fellow rapper Stoni perform in the Regulars Only backyard on Saturday, Aug. 13, 2022. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>These thoughts ran through my head as I pushed north, up 880 to the final event of the evening: a backyard bonfire and performance at the Regulars Only house.\u003c/p>\n\u003cp>A long list of artists, including \u003ca href=\"https://www.instagram.com/pass510/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Passwurdz\u003c/a>, \u003ca href=\"https://www.instagram.com/iamfijiana/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Fijiana\u003c/a>, \u003ca href=\"https://www.instagram.com/mksmth_/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Mksmth\u003c/a>, \u003ca href=\"https://www.instagram.com/thedakotawytefoxx/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">The Dakota Wytefoxx\u003c/a>, \u003ca href=\"https://www.instagram.com/popit4gee/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Gee Pop\u003c/a>, \u003ca href=\"https://www.instagram.com/wantmoren8/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">WantMoren8\u003c/a>, \u003ca href=\"https://www.instagram.com/tia.nomore/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Tia Nomore\u003c/a>, \u003ca href=\"https://www.instagram.com/poosie_apex/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Poo$ie,\u003c/a> \u003ca href=\"https://www.instagram.com/princessjourney_/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">JourneyB tha Reason\u003c/a>, \u003ca href=\"https://www.instagram.com/kvnalln/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Kevin Allen\u003c/a>, \u003ca href=\"https://www.instagram.com/callherstoni/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Stoni\u003c/a> and more graced the stage.\u003c/p>\n\u003cp>The audience itself was full of talented individuals who could’ve easily rocked the mic with the scheduled performers. Folks like \u003ca href=\"https://www.instagram.com/mad.lines/\" target=\"_blank\" rel=\"noopener noreferrer\">MADlines\u003c/a> and \u003ca href=\"https://www.instagram.com/firstnameian/\" target=\"_blank\" rel=\"noopener noreferrer\">Ian Kelly\u003c/a>, \u003ca href=\"https://www.instagram.com/kingtahoe/\" target=\"_blank\" rel=\"noopener noreferrer\">King Tahoe \u003c/a>and \u003ca href=\"https://www.instagram.com/guapdad4000/\" target=\"_blank\" rel=\"noopener noreferrer\">Guapdad 4000\u003c/a>. \u003ca href=\"https://www.instagram.com/champgreen/\" target=\"_blank\" rel=\"noopener noreferrer\">Champ Green\u003c/a> held down the grill, while \u003ca href=\"https://www.instagram.com/rexxliferaj/\" target=\"_blank\" rel=\"noopener noreferrer\">Rexx Life Raj\u003c/a> was in full photographer mode.\u003c/p>\n\u003cfigure id=\"attachment_13917666\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917666\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/5491A041-12A5-452B-9767-0DA68D518390-800x535.jpg\" alt=\"Wantmoren8 spitting rhymes during a performance in the Regulars Only backyard on Saturday August 13, 2022.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/5491A041-12A5-452B-9767-0DA68D518390-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/5491A041-12A5-452B-9767-0DA68D518390-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/5491A041-12A5-452B-9767-0DA68D518390-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/5491A041-12A5-452B-9767-0DA68D518390-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/5491A041-12A5-452B-9767-0DA68D518390.jpg 1079w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Wantmoren8 spitting rhymes during a performance in the Regulars Only backyard on Saturday, Aug. 13, 2022. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At one point Raj hit the stage and grabbed the mic, just to take an orchestrated photo of the crowd. A sea of who’s-who. Smiles and peace signs. Only a portion of the full list of attendees that evening, but it captured the sentiment.\u003c/p>\n\u003cp>The view from the stage shows people at the function, and it shows a house in the background, one that’s being remodeled.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This weekend was a reminder that it’s not always about reaching a new level or getting to that next platform, it’s more about appreciating the stage you’re on—even if you’re in between stages.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Raised in San Jose, Phillip Garcia Stars in New Pandemic Comedy Series 'Sprung'",
"headTitle": "Raised in San Jose, Phillip Garcia Stars in New Pandemic Comedy Series ‘Sprung’ | KQED",
"content": "\u003cp>When Phillip Garcia landed a starring role in the new TV comedy \u003cem>Sprung\u003c/em>, which premieres this Friday on Amazon subsidiary Freevee, he couldn’t wait to tell his grandma—and not just because he knew she’d be proud. \u003c/p>\n\u003cp>The 34-year-old actor, who’s guest starred on crime dramas like \u003cem>Criminal Minds\u003c/em> and \u003cem>CSI: Vegas\u003c/em>, was excited about something else: “I could spare her not having to see me die on TV anymore,” he says.\u003c/p>\n\u003cp>[aside postID='news_11908377']Garcia, originally from San Jose, says family is important to him—on and off screen. In \u003cem>Sprung\u003c/em>, his character Rooster is released from prison due to COVID, and he ends up sheltering in place with a group of formerly incarcerated folks. Those include the show’s hero and Rooster’s former cellmate Jack (Garret Dillahunt), Rooster’s mom Barb (Martha Plimpton) and Gloria, Jack’s former prison girlfriend (Shakira Barrera).\u003c/p>\n\u003cp>The show, created by Greg Garcia (\u003cem>My Name Is Earl\u003c/em> and \u003cem>Raising Hope\u003c/em>), follows Jack as he navigates life outside prison and bands together with this new family, using their criminal expertise to do some good.\u003c/p>\n\u003cp>“It becomes this Robin Hood story, stealing from the rich and giving to the poor,” said Garcia, who got his start in musical theater.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>KQED’s Brian Watt caught up with Garcia to talk about \u003cem>Sprung\u003c/em>, his Bay Area roots and the possibility of a 49ers film.\u003c/p>\n\u003cfigure id=\"attachment_13917624\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Garcia.headshot.sq_.jpg\" alt=\"A Latino man in headshot against a dark background\" width=\"600\" height=\"600\" class=\"size-full wp-image-13917624\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Garcia.headshot.sq_.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Garcia.headshot.sq_-160x160.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Phillip Garcia. \u003ccite>(Anderson Group)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>This interview has been edited for brevity and clarity.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>BRIAN WATT: Was there ever a moment of trepidation about doing a show that basically laughs at the expense of the pandemic?\u003c/strong>\u003c/p>\n\u003cp>PHILLIP GARCIA: Without getting too political, Greg [Garcia] did a great job, not hitting you over the head with it. The story is truly about these characters going through something that we all went through. I think we need something like this right now. We need to poke fun at ourselves a little bit, and to say, “Hey, remember when we didn’t know whether we could touch our faces?”\u003c/p>\n\u003cp>\u003cstrong>What is it about your character Rooster that you connect with?\u003c/strong>\u003c/p>\n\u003cp>Initially, I auditioned for the villain character, and all my friends, they all said, “Oh, Phillip is so sweet. He has such a positive outlook.” I think that’s Rooster. He’s the good guy, but he’s misunderstood at times. If there’s something that he could mess up along the way, oh, he’ll definitely mess it up: He’s not the sharpest tool in the shed. And it’s funny because my mom, Barb, played by Martha Plimpton, I think the apple doesn’t fall too far from the tree, in terms of the IQ perspective. Greg did a good job, making Barb and Rooster the butt of every joke.\u003c/p>\n\u003cp>\u003cstrong>You’re based in L.A. now, but you started in eastern San Jose, in Alum Rock. What was it like growing up there?\u003c/strong>\u003c/p>\n\u003cp>It’s predominantly Latino, more blue-collar people who are working everyday to try and make ends meet. You saw people struggling. My dad worked three jobs to try and support my brother and me. For me, to be the change, it’s a lot of weight. I just want to make my city proud. I want to make my family proud. I think about the way I grew up and the things I was surrounded by, and thank God for my family.\u003c/p>\n\u003cfigure id=\"attachment_13917625\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Garcia.rose_-800x533.jpg\" alt=\"A Latino man holds a flower in the middle of the street looking forlorn \" width=\"800\" height=\"533\" class=\"size-medium wp-image-13917625\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Garcia.rose_-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Garcia.rose_-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Garcia.rose_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Garcia.rose_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Garcia.rose_-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Garcia.rose_.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Phillip Garcia, seen in an episode of ‘Sprung.’ \u003ccite>(Freevee/Amazon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>You’re right next to the tech sector. At one point did your dad ever look at you and say, “Hey, I hear there’s a bunch of tech jobs just right over there. If you get into tech, you know, there’s some real money to be made!”\u003c/strong>\u003c/p>\n\u003cp>He wanted the best for his kids. He was a positive influence on me. When he figured out I wanted to be an actor, which happened maybe in the sixth grade, I played Mogwli in \u003cem>The Jungle Book\u003c/em>. Since there were no actors or singers in my family, my dad would drive me every Sunday to a commercial acting class for kids. He was a disciplinarian, and I remember car rides on the way to an audition for a musical. He would be like, “Okay, you got to make sure you hit that note.”\u003c/p>\n\u003cp>\u003cstrong>Throughout your career, how have you dealt with the issue of representation? There aren’t many roles for Latinos. According to a 2021 UCLA report, Latinos appeared in only about 6 percent of roles, despite making up 19 percent of the population in the United States.\u003c/strong>\u003c/p>\n\u003cp>I feel honored to be a part of the change. Latinx is the new wave of representation. We’re seeing a lot more diversity in film and TV. When I was growing up, all I saw on TV was George Lopez and Cheech and Chong. On our show, we have two Latinos in the lead cast—Shakira Barrera and I. \u003c/p>\n\u003cp>I hope there’s a young man or woman who lives on the east side of San Jose and watches \u003cem>Sprung\u003c/em> and sees me, brown skin, and says, “Oh, wow, I could do that, too. You work so hard, grinding at your career and then to finally get to a point where you can give back and effect some change. That’s the dream.”\u003c/p>\n\u003cp>\u003cstrong>As I understand it, you’re still loyal to Bay Area sports teams. So if someone decided to make a biopic or TV show about an era for one of those teams, who would you want to play?\u003c/strong>\u003c/p>\n\u003cp>I don’t know! I’d want to help produce. Maybe the passing of the torch from [Joe] Montana to Steve Young [both former 49ers quarterbacks]. Those are the 49ers’ glory days, man.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Sprung’ premieres on Friday, Aug. 19, on the free streaming service Freevee. \u003ca href=\"https://press.amazonstudios.com/us/en/amazon-freevee-series/sprung/1\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "The actor talks with Brian Watt about his South Bay roots, family expectations, and Latino representation. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When Phillip Garcia landed a starring role in the new TV comedy \u003cem>Sprung\u003c/em>, which premieres this Friday on Amazon subsidiary Freevee, he couldn’t wait to tell his grandma—and not just because he knew she’d be proud. \u003c/p>\n\u003cp>The 34-year-old actor, who’s guest starred on crime dramas like \u003cem>Criminal Minds\u003c/em> and \u003cem>CSI: Vegas\u003c/em>, was excited about something else: “I could spare her not having to see me die on TV anymore,” he says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Garcia, originally from San Jose, says family is important to him—on and off screen. In \u003cem>Sprung\u003c/em>, his character Rooster is released from prison due to COVID, and he ends up sheltering in place with a group of formerly incarcerated folks. Those include the show’s hero and Rooster’s former cellmate Jack (Garret Dillahunt), Rooster’s mom Barb (Martha Plimpton) and Gloria, Jack’s former prison girlfriend (Shakira Barrera).\u003c/p>\n\u003cp>The show, created by Greg Garcia (\u003cem>My Name Is Earl\u003c/em> and \u003cem>Raising Hope\u003c/em>), follows Jack as he navigates life outside prison and bands together with this new family, using their criminal expertise to do some good.\u003c/p>\n\u003cp>“It becomes this Robin Hood story, stealing from the rich and giving to the poor,” said Garcia, who got his start in musical theater.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>KQED’s Brian Watt caught up with Garcia to talk about \u003cem>Sprung\u003c/em>, his Bay Area roots and the possibility of a 49ers film.\u003c/p>\n\u003cfigure id=\"attachment_13917624\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Garcia.headshot.sq_.jpg\" alt=\"A Latino man in headshot against a dark background\" width=\"600\" height=\"600\" class=\"size-full wp-image-13917624\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Garcia.headshot.sq_.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Garcia.headshot.sq_-160x160.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Phillip Garcia. \u003ccite>(Anderson Group)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>This interview has been edited for brevity and clarity.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>BRIAN WATT: Was there ever a moment of trepidation about doing a show that basically laughs at the expense of the pandemic?\u003c/strong>\u003c/p>\n\u003cp>PHILLIP GARCIA: Without getting too political, Greg [Garcia] did a great job, not hitting you over the head with it. The story is truly about these characters going through something that we all went through. I think we need something like this right now. We need to poke fun at ourselves a little bit, and to say, “Hey, remember when we didn’t know whether we could touch our faces?”\u003c/p>\n\u003cp>\u003cstrong>What is it about your character Rooster that you connect with?\u003c/strong>\u003c/p>\n\u003cp>Initially, I auditioned for the villain character, and all my friends, they all said, “Oh, Phillip is so sweet. He has such a positive outlook.” I think that’s Rooster. He’s the good guy, but he’s misunderstood at times. If there’s something that he could mess up along the way, oh, he’ll definitely mess it up: He’s not the sharpest tool in the shed. And it’s funny because my mom, Barb, played by Martha Plimpton, I think the apple doesn’t fall too far from the tree, in terms of the IQ perspective. Greg did a good job, making Barb and Rooster the butt of every joke.\u003c/p>\n\u003cp>\u003cstrong>You’re based in L.A. now, but you started in eastern San Jose, in Alum Rock. What was it like growing up there?\u003c/strong>\u003c/p>\n\u003cp>It’s predominantly Latino, more blue-collar people who are working everyday to try and make ends meet. You saw people struggling. My dad worked three jobs to try and support my brother and me. For me, to be the change, it’s a lot of weight. I just want to make my city proud. I want to make my family proud. I think about the way I grew up and the things I was surrounded by, and thank God for my family.\u003c/p>\n\u003cfigure id=\"attachment_13917625\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Garcia.rose_-800x533.jpg\" alt=\"A Latino man holds a flower in the middle of the street looking forlorn \" width=\"800\" height=\"533\" class=\"size-medium wp-image-13917625\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Garcia.rose_-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Garcia.rose_-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Garcia.rose_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Garcia.rose_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Garcia.rose_-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Garcia.rose_.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Phillip Garcia, seen in an episode of ‘Sprung.’ \u003ccite>(Freevee/Amazon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>You’re right next to the tech sector. At one point did your dad ever look at you and say, “Hey, I hear there’s a bunch of tech jobs just right over there. If you get into tech, you know, there’s some real money to be made!”\u003c/strong>\u003c/p>\n\u003cp>He wanted the best for his kids. He was a positive influence on me. When he figured out I wanted to be an actor, which happened maybe in the sixth grade, I played Mogwli in \u003cem>The Jungle Book\u003c/em>. Since there were no actors or singers in my family, my dad would drive me every Sunday to a commercial acting class for kids. He was a disciplinarian, and I remember car rides on the way to an audition for a musical. He would be like, “Okay, you got to make sure you hit that note.”\u003c/p>\n\u003cp>\u003cstrong>Throughout your career, how have you dealt with the issue of representation? There aren’t many roles for Latinos. According to a 2021 UCLA report, Latinos appeared in only about 6 percent of roles, despite making up 19 percent of the population in the United States.\u003c/strong>\u003c/p>\n\u003cp>I feel honored to be a part of the change. Latinx is the new wave of representation. We’re seeing a lot more diversity in film and TV. When I was growing up, all I saw on TV was George Lopez and Cheech and Chong. On our show, we have two Latinos in the lead cast—Shakira Barrera and I. \u003c/p>\n\u003cp>I hope there’s a young man or woman who lives on the east side of San Jose and watches \u003cem>Sprung\u003c/em> and sees me, brown skin, and says, “Oh, wow, I could do that, too. You work so hard, grinding at your career and then to finally get to a point where you can give back and effect some change. That’s the dream.”\u003c/p>\n\u003cp>\u003cstrong>As I understand it, you’re still loyal to Bay Area sports teams. So if someone decided to make a biopic or TV show about an era for one of those teams, who would you want to play?\u003c/strong>\u003c/p>\n\u003cp>I don’t know! I’d want to help produce. Maybe the passing of the torch from [Joe] Montana to Steve Young [both former 49ers quarterbacks]. Those are the 49ers’ glory days, man.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Sprung’ premieres on Friday, Aug. 19, on the free streaming service Freevee. \u003ca href=\"https://press.amazonstudios.com/us/en/amazon-freevee-series/sprung/1\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "At San Jose Jazz Summer Fest, Bird Still Lives",
"headTitle": "At San Jose Jazz Summer Fest, Bird Still Lives | KQED",
"content": "\u003cp>Alto saxophonist Charlie Parker hadn’t even been buried yet when graffiti started appearing around New York City proclaiming “Bird Lives.” Like the ichthys symbol carved into walls by early Christians, the cryptic message spoke to the almost messianic power of Parker’s music and the eternal spirit of the central creative force behind the modern jazz movement known as bebop. Initially the handiwork of \u003ca href=\"https://www.nytimes.com/2003/05/18/nyregion/ted-joans-74-jazzy-beat-poet-known-for-bird-lives-graffiti.html\" rel=\"noopener noreferrer\" target=\"_blank\">Beat poet Ted Joans\u003c/a>, the tag “Bird Lives” quickly became a watchword for the countless bebop disciples who continued to spread Parker’s gospel after his death in 1955 at the age of 34.\u003c/p>\n\u003cp>While aspects of Bird’s famously shambolic life off-stage may have led many young musicians down a treacherous path, Parker also embodied a Platonic ideal as a relentlessly curious artist who found something to feed his improvisational flights wherever he listened. Drawing sustenance from his blues-steeped upbringing in Kansas City, he forged a rhythmic and harmonic idiom that’s no less awe-inspiring today despite its wholesale absorption into jazz’s mainstream. \u003c/p>\n\u003cp>“We all pay homage to the Bird,” says New Orleans saxophonist Donald Harrison Jr., speaking by video call from Berlin. Awarded the A.B. Spellman \u003ca href=\"https://www.youtube.com/watch?v=tkBzAI4CZhQ&t=1s\" rel=\"noopener noreferrer\" target=\"_blank\">NEA Jazz Masters Fellowship\u003c/a> for Jazz Advocacy this year, Harrison returns to the Bay Area on Sunday, Aug. 14, for “Charlie Parker at 100,” a pandemic-delayed celebration of the centennial of Bird’s birth on Aug. 29, 1920. \u003c/p>\n\u003cfigure id=\"attachment_13917381\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Javon.Bartz_-800x496.jpg\" alt=\"Two photos side by side of men in suits holding saxophones\" width=\"800\" height=\"496\" class=\"size-medium wp-image-13917381\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Javon.Bartz_-800x496.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Javon.Bartz_-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Javon.Bartz_-768x476.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Javon.Bartz_.jpg 804w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Javon Jackson and Gary Bartz (L–R) perform a tribute to Charlie Parker at this year’s San Jose Jazz Summer Fest. \u003ccite>(Courtesy San Jose Jazz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Assembled and led by tenor saxophonist Javon Jackson, the all-star aggregation is one of the headlining events at the \u003ca href=\"https://summerfest.sanjosejazz.org/lineup\" rel=\"noopener noreferrer\" target=\"_blank\">San Jose Jazz Summer Fest\u003c/a>, which runs Aug. 12–14 at outdoor stages and venues around downtown’s Plaza de Cesar Chavez. Encompassing blues and R&B, salsa and soul, various Latin American traditions, and of course an array of jazz styles, Summer Fest presents a deep roster of top acts, including Charlie Wilson, Durand Jones, Ledisi, Lee Fields, and Ladysmith Black Mambazo.\u003c/p>\n\u003cp>For sheer improvisational wattage, “Charlie Parker at 100” lights up the jazz side of the roster, bringing together three of the music’s most prodigious altoists with Charles McPherson, 83, and Gary Bartz, 81, joining Harrison, a relatively young lion at 62. “Everybody is coming from Bird,” said Jackson, who noted his deep ties to his fellow saxophonists. “Charles grew up with my dad in Joplin, Missouri and he’s kind of like my uncle. We’ve got some arrangements that feature us in different configurations, and we’re going to celebrate the legacy of Bird, an incredible artist by every measure.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Parker’s footprint at Summer Fest extends far beyond the main stage on Sunday. With Kansas City-reared \u003ca href=\"https://summerfest.sanjosejazz.org/artists/bobby-watson-curtis-lundy-quartet-with-cyrus-chestnut-and-victor-jones\" rel=\"noopener noreferrer\" target=\"_blank\">Bobby Watson\u003c/a>’s Saturday afternoon and evening sets paving the way for the “Parker at 100” triumvirate, San Jose Jazz has booked a majority of the alto saxophone’s half-dozen greatest practitioners. (Watson and Bartz played together on the 2020 album \u003cem>Bird at 100\u003c/em> (Smoke Sessions Records), and he could have easily been part of Sunday’s confab if he wasn’t co-leading an all-star quartet with bassist Curtis Lundy featuring pianist Cyrus Chestnut and drummer Victor Jones.) \u003c/p>\n\u003cp>https://www.youtube.com/watch?v=gsycKtvHp7U\u003c/p>\n\u003cp>“Charles and Gary are my heroes,” said Watson, 68. “They’re both poets. Charles is bebop from head to toe, but it’s his own bebop. He’s a master chef and he’s created his own recipes. I try to see him and listen to him whenever I can. And Gary Bartz, he’s got his sound, which is what we’re all after.”\u003c/p>\n\u003cp>Harrison describes McPherson and Bartz as mentors. It’s no coincidence that he and Bartz and Watson all had formative experiences in the hard bop crucible of Art Blakey’s Jazz Messengers, an essential proving ground for rising young players for more than three decades. One of the rhythmic architects of bebop, the drummer was a dedicated evangelist when it came to spreading knowledge about the art form. “Blakey was able to tell you things that Bird told him, which was priceless,” Harrison said. “I don’t have to read a book. I got it straight from the horse’s mouth.”\u003c/p>\n\u003cp>No album better captures Blakey’s connection to Parker than the classic 1950 set recorded at the club named in the altoist’s honor, \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=7ZASRGepLjc\" rel=\"noopener noreferrer\" target=\"_blank\">One Night In Birdland\u003c/a>\u003c/em>, featuring Blakey, bebop piano fountainhead Bud Powell, short-lived trumpet great Fats Navarro and bassist Curly Russell, which Harrison describes as “a treasure of priceless ideas. Just relentless invention. I liken it to doing quantum mechanics, but on the saxophone. Bird is playing fully formulated ideas. Every song and idea is a masterpiece, perfectly constructed. It’s one of the reasons I decided to include everything I heard in my lifetime in my music.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=kAMWKcOtn0Y\u003c/p>\n\u003cp>For Harrison, who ascended to the Big Chief leadership role in the New Orleans Mardi Gras Indians once held by his father, the key to understanding Parker isn’t found in his unprecedented virtuosity. It’s in the emotional depth of his playing and breadth of his vision. He credits Bird’s observation that “if you don’t live it, it won’t come out your horn” with fundamentally shaping his mentality as an artist, “playing blues with the blues player, funk with the funk players, orchestral music with symphonies, Afro-Cuban and Afro-Brazilian music with the greatest from the tradition, and tribal music from New Orleans. I’ve been around people at the forefront, because Charlie Parker told me.” \u003c/p>\n\u003cp>The Beats celebrated Parker and his fellow bebop explorers for their passion and improvisational in-the-moment ethos, but the praise was often couched as if Black artists somehow embodied pure and instinctual expression, rather than intellectual discipline. It’s a racial trope that surfaces again and again when it comes to jazz, but Harrison is hardly the only jazz master who imbibed the studious imperative of Bird’s legacy. \u003c/p>\n\u003cp>Coming up on the Detroit jazz scene in the wake of bebop, McPherson was shaped by his early exposure to Parker’s pervasive influence. Like Harrison, he embraced Bird’s insight that engagement with all manner of creative pursuits feeds an improviser’s consciousness. He only met the polymathic modern jazz patriarch briefly as a teenager, but McPherson learned about his expansive intellectual purview from fellow Detroiters like vocalist Sheila Jordan, still going strong at 93, and the late pianist Barry Harris.\u003c/p>\n\u003cfigure id=\"attachment_13917383\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/CharlesMcPherson1-800x582.jpg\" alt=\"A man in a suit holds an alto saxophone against yellow and orange lighting\" width=\"800\" height=\"582\" class=\"size-medium wp-image-13917383\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/CharlesMcPherson1-800x582.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/CharlesMcPherson1-1020x742.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/CharlesMcPherson1-160x116.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/CharlesMcPherson1-768x559.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/CharlesMcPherson1-1536x1118.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/CharlesMcPherson1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Charles McPherson. \u003ccite>(Courtesy San Jose Jazz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Sheila said Bird was very much aware of modern classical music and modern painting, Chagall and Miro,” said McPherson, a longtime San Diego resident. “He would tell them, there’s a connection between all the arts and you’re supposed to know these things too.”\u003c/p>\n\u003cp>When McPherson describes his musical upbringing, he makes it clear that curiosity about the world was considered part and parcel of a jazz musician’s creative life. He vividly recalls a time when he showed his decidedly mediocre report card to Harris, who let him know that his artistic ambition couldn’t be separated from intellectual discipline. “He said that if you really want to play this music well, you can’t be average, and that just hit home,” McPherson said. \u003c/p>\n\u003cp>“For the first time somebody I admired was saying that, and it changed my whole life. The little group I hung out with, in order to be hip, you also needed to know about Bertrand Russell, Nietzsche, Spinoza. Bird could sit down and talk about quantum mechanics. Our notion of hip was a broad thing, and Bird’s the guy who started to make it that way.” \u003c/p>\n\u003cp>Discussions with heavyweights like Harrison, Watson, Bartz and McPherson aren’t dorm-room bong sessions. San Diego-raised pianist Rob Schneiderman, who spent two decades as a top New York accompanist for jazz giants like Chet Baker, J.J. Johnson, and James Moody, credits his early-career conversations with McPherson about Einstein’s theory of spacetime with setting him on a path that eventually led to a PhD in mathematics from UC Berkeley. He’s now a professor of mathematics at City University of New York’s Lehman College.\u003c/p>\n\u003cp>“Bartz says all music is the same,” Harrison said. “We all play the same notes and rhythms, but different versions of it. I was realizing that we often think of music in a two-dimensional way, getting from Point A to Point B. But when I look at the quantum aspect, I could see that I could make music four-dimensionally using the idea that the entity making the move from Point A to B can go through every permutation.”\u003c/p>\n\u003cp>More than a century after his birth, Bird is still word, and bebop is the music of the future. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Gary Bartz, Charles McPherson, Javon Jackson and Donald Harrison Jr. perform on Sunday, Aug. 14, at the San Jose Jazz Summer Fest. \u003ca href=\"https://summerfest.sanjosejazz.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/em> \u003c/p>\n\n",
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"excerpt": "On Aug. 14, alto all-stars Gary Bartz, Charles McPherson, Javon Jackson and Donald Harrison Jr. honor Charlie Parker in a saxophone summit.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Alto saxophonist Charlie Parker hadn’t even been buried yet when graffiti started appearing around New York City proclaiming “Bird Lives.” Like the ichthys symbol carved into walls by early Christians, the cryptic message spoke to the almost messianic power of Parker’s music and the eternal spirit of the central creative force behind the modern jazz movement known as bebop. Initially the handiwork of \u003ca href=\"https://www.nytimes.com/2003/05/18/nyregion/ted-joans-74-jazzy-beat-poet-known-for-bird-lives-graffiti.html\" rel=\"noopener noreferrer\" target=\"_blank\">Beat poet Ted Joans\u003c/a>, the tag “Bird Lives” quickly became a watchword for the countless bebop disciples who continued to spread Parker’s gospel after his death in 1955 at the age of 34.\u003c/p>\n\u003cp>While aspects of Bird’s famously shambolic life off-stage may have led many young musicians down a treacherous path, Parker also embodied a Platonic ideal as a relentlessly curious artist who found something to feed his improvisational flights wherever he listened. Drawing sustenance from his blues-steeped upbringing in Kansas City, he forged a rhythmic and harmonic idiom that’s no less awe-inspiring today despite its wholesale absorption into jazz’s mainstream. \u003c/p>\n\u003cp>“We all pay homage to the Bird,” says New Orleans saxophonist Donald Harrison Jr., speaking by video call from Berlin. Awarded the A.B. Spellman \u003ca href=\"https://www.youtube.com/watch?v=tkBzAI4CZhQ&t=1s\" rel=\"noopener noreferrer\" target=\"_blank\">NEA Jazz Masters Fellowship\u003c/a> for Jazz Advocacy this year, Harrison returns to the Bay Area on Sunday, Aug. 14, for “Charlie Parker at 100,” a pandemic-delayed celebration of the centennial of Bird’s birth on Aug. 29, 1920. \u003c/p>\n\u003cfigure id=\"attachment_13917381\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Javon.Bartz_-800x496.jpg\" alt=\"Two photos side by side of men in suits holding saxophones\" width=\"800\" height=\"496\" class=\"size-medium wp-image-13917381\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Javon.Bartz_-800x496.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Javon.Bartz_-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Javon.Bartz_-768x476.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Javon.Bartz_.jpg 804w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Javon Jackson and Gary Bartz (L–R) perform a tribute to Charlie Parker at this year’s San Jose Jazz Summer Fest. \u003ccite>(Courtesy San Jose Jazz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Assembled and led by tenor saxophonist Javon Jackson, the all-star aggregation is one of the headlining events at the \u003ca href=\"https://summerfest.sanjosejazz.org/lineup\" rel=\"noopener noreferrer\" target=\"_blank\">San Jose Jazz Summer Fest\u003c/a>, which runs Aug. 12–14 at outdoor stages and venues around downtown’s Plaza de Cesar Chavez. Encompassing blues and R&B, salsa and soul, various Latin American traditions, and of course an array of jazz styles, Summer Fest presents a deep roster of top acts, including Charlie Wilson, Durand Jones, Ledisi, Lee Fields, and Ladysmith Black Mambazo.\u003c/p>\n\u003cp>For sheer improvisational wattage, “Charlie Parker at 100” lights up the jazz side of the roster, bringing together three of the music’s most prodigious altoists with Charles McPherson, 83, and Gary Bartz, 81, joining Harrison, a relatively young lion at 62. “Everybody is coming from Bird,” said Jackson, who noted his deep ties to his fellow saxophonists. “Charles grew up with my dad in Joplin, Missouri and he’s kind of like my uncle. We’ve got some arrangements that feature us in different configurations, and we’re going to celebrate the legacy of Bird, an incredible artist by every measure.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Parker’s footprint at Summer Fest extends far beyond the main stage on Sunday. With Kansas City-reared \u003ca href=\"https://summerfest.sanjosejazz.org/artists/bobby-watson-curtis-lundy-quartet-with-cyrus-chestnut-and-victor-jones\" rel=\"noopener noreferrer\" target=\"_blank\">Bobby Watson\u003c/a>’s Saturday afternoon and evening sets paving the way for the “Parker at 100” triumvirate, San Jose Jazz has booked a majority of the alto saxophone’s half-dozen greatest practitioners. (Watson and Bartz played together on the 2020 album \u003cem>Bird at 100\u003c/em> (Smoke Sessions Records), and he could have easily been part of Sunday’s confab if he wasn’t co-leading an all-star quartet with bassist Curtis Lundy featuring pianist Cyrus Chestnut and drummer Victor Jones.) \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/gsycKtvHp7U'\n title='//www.youtube.com/embed/gsycKtvHp7U'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“Charles and Gary are my heroes,” said Watson, 68. “They’re both poets. Charles is bebop from head to toe, but it’s his own bebop. He’s a master chef and he’s created his own recipes. I try to see him and listen to him whenever I can. And Gary Bartz, he’s got his sound, which is what we’re all after.”\u003c/p>\n\u003cp>Harrison describes McPherson and Bartz as mentors. It’s no coincidence that he and Bartz and Watson all had formative experiences in the hard bop crucible of Art Blakey’s Jazz Messengers, an essential proving ground for rising young players for more than three decades. One of the rhythmic architects of bebop, the drummer was a dedicated evangelist when it came to spreading knowledge about the art form. “Blakey was able to tell you things that Bird told him, which was priceless,” Harrison said. “I don’t have to read a book. I got it straight from the horse’s mouth.”\u003c/p>\n\u003cp>No album better captures Blakey’s connection to Parker than the classic 1950 set recorded at the club named in the altoist’s honor, \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=7ZASRGepLjc\" rel=\"noopener noreferrer\" target=\"_blank\">One Night In Birdland\u003c/a>\u003c/em>, featuring Blakey, bebop piano fountainhead Bud Powell, short-lived trumpet great Fats Navarro and bassist Curly Russell, which Harrison describes as “a treasure of priceless ideas. Just relentless invention. I liken it to doing quantum mechanics, but on the saxophone. Bird is playing fully formulated ideas. Every song and idea is a masterpiece, perfectly constructed. It’s one of the reasons I decided to include everything I heard in my lifetime in my 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/kAMWKcOtn0Y'\n title='//www.youtube.com/embed/kAMWKcOtn0Y'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>For Harrison, who ascended to the Big Chief leadership role in the New Orleans Mardi Gras Indians once held by his father, the key to understanding Parker isn’t found in his unprecedented virtuosity. It’s in the emotional depth of his playing and breadth of his vision. He credits Bird’s observation that “if you don’t live it, it won’t come out your horn” with fundamentally shaping his mentality as an artist, “playing blues with the blues player, funk with the funk players, orchestral music with symphonies, Afro-Cuban and Afro-Brazilian music with the greatest from the tradition, and tribal music from New Orleans. I’ve been around people at the forefront, because Charlie Parker told me.” \u003c/p>\n\u003cp>The Beats celebrated Parker and his fellow bebop explorers for their passion and improvisational in-the-moment ethos, but the praise was often couched as if Black artists somehow embodied pure and instinctual expression, rather than intellectual discipline. It’s a racial trope that surfaces again and again when it comes to jazz, but Harrison is hardly the only jazz master who imbibed the studious imperative of Bird’s legacy. \u003c/p>\n\u003cp>Coming up on the Detroit jazz scene in the wake of bebop, McPherson was shaped by his early exposure to Parker’s pervasive influence. Like Harrison, he embraced Bird’s insight that engagement with all manner of creative pursuits feeds an improviser’s consciousness. He only met the polymathic modern jazz patriarch briefly as a teenager, but McPherson learned about his expansive intellectual purview from fellow Detroiters like vocalist Sheila Jordan, still going strong at 93, and the late pianist Barry Harris.\u003c/p>\n\u003cfigure id=\"attachment_13917383\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/CharlesMcPherson1-800x582.jpg\" alt=\"A man in a suit holds an alto saxophone against yellow and orange lighting\" width=\"800\" height=\"582\" class=\"size-medium wp-image-13917383\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/CharlesMcPherson1-800x582.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/CharlesMcPherson1-1020x742.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/CharlesMcPherson1-160x116.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/CharlesMcPherson1-768x559.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/CharlesMcPherson1-1536x1118.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/CharlesMcPherson1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Charles McPherson. \u003ccite>(Courtesy San Jose Jazz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Sheila said Bird was very much aware of modern classical music and modern painting, Chagall and Miro,” said McPherson, a longtime San Diego resident. “He would tell them, there’s a connection between all the arts and you’re supposed to know these things too.”\u003c/p>\n\u003cp>When McPherson describes his musical upbringing, he makes it clear that curiosity about the world was considered part and parcel of a jazz musician’s creative life. He vividly recalls a time when he showed his decidedly mediocre report card to Harris, who let him know that his artistic ambition couldn’t be separated from intellectual discipline. “He said that if you really want to play this music well, you can’t be average, and that just hit home,” McPherson said. \u003c/p>\n\u003cp>“For the first time somebody I admired was saying that, and it changed my whole life. The little group I hung out with, in order to be hip, you also needed to know about Bertrand Russell, Nietzsche, Spinoza. Bird could sit down and talk about quantum mechanics. Our notion of hip was a broad thing, and Bird’s the guy who started to make it that way.” \u003c/p>\n\u003cp>Discussions with heavyweights like Harrison, Watson, Bartz and McPherson aren’t dorm-room bong sessions. San Diego-raised pianist Rob Schneiderman, who spent two decades as a top New York accompanist for jazz giants like Chet Baker, J.J. Johnson, and James Moody, credits his early-career conversations with McPherson about Einstein’s theory of spacetime with setting him on a path that eventually led to a PhD in mathematics from UC Berkeley. He’s now a professor of mathematics at City University of New York’s Lehman College.\u003c/p>\n\u003cp>“Bartz says all music is the same,” Harrison said. “We all play the same notes and rhythms, but different versions of it. I was realizing that we often think of music in a two-dimensional way, getting from Point A to Point B. But when I look at the quantum aspect, I could see that I could make music four-dimensionally using the idea that the entity making the move from Point A to B can go through every permutation.”\u003c/p>\n\u003cp>More than a century after his birth, Bird is still word, and bebop is the music of the future. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Gary Bartz, Charles McPherson, Javon Jackson and Donald Harrison Jr. perform on Sunday, Aug. 14, at the San Jose Jazz Summer Fest. \u003ca href=\"https://summerfest.sanjosejazz.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/em> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "San Jose’s Star 99 Blossom from Their D.I.Y. Punk Beginnings",
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"content": "\u003cp>\u003cem>Welcome to Pass the Aux, where KQED Arts & Culture brings you our favorite new tracks by Bay Area artists. \u003ca href=\"https://www.kqed.org/arts/tag/pass-the-aux\" target=\"_blank\" rel=\"noopener noreferrer\">Check out past entries and submit a song for future coverage\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>Before performing together in backyards, sheds and basements, the members of San Jose band \u003ca href=\"https://star99.bandcamp.com/album/star-99\" target=\"_blank\" rel=\"noopener noreferrer\">Star 99\u003c/a> spent their younger years exploring the South Bay’s small but sturdy indie punk scene. Saoirse Alesandro, Jeremy Romero, Thomas Romero and Chris Gough attended shows, danced and headbanged together to the loud, energetic songs of their favorite bands Shinobu and Algernon Cadwallader.\u003c/p>\n\u003cp>Now, years later, they make their own music—emerging into the punk archive they grew up admiring. On July 10, they released their latest project \u003cem>STAR 99\u003c/em>, featuring three songs titled “Born to Run,” “Vegas” and “Wyoming.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=911153190/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>Upon first listen, Star 99’s songs start and end in a flurry, reading like jumbled diary entries set to blaring instrumentals that swell to satisfying resolutions. “All of the lyrics are from my journal,” Saoirse, the band’s lead vocalist confirms, describing the song making process as an “exorcism.” She pulls from her most personal thoughts and, with her bandmates, tinkers with them to various chord progressions until something clicks.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Like much of the band’s discography, “Vegas” builds on the melodic qualities of ’90s pop punk and indie rock, with fast and hard drums, a deep, hypnotic bassline, cranked-up guitar riffs and angsty lyrics that transport listeners to their teenage years. [aside postid='arts_13916282']\u003c/p>\n\u003cp>“And beautiful as ever, you’re the smell of the air in December / And everything got fucked up but school starts again in September / And no one’s allowed into my room,” Alesandro sings.\u003c/p>\n\u003cp>While this single retains some of the playfulness of Star 99’s 2021 debut EP \u003cem>My Year in Lists\u003c/em>, “Born to Run” experiments with slower melodies that emphasize the wistful tenderness of past relationships: “T-shirts huddled in corners in warehouse rooms / Pick through a pile and find it soon / Reno’s got casinos and I’ve got you / The morning when we’re waking up / The coffee grows cold in the cup.”\u003c/p>\n\u003cp>Alesandro attributes this newfound slowness in their songs to the growing comfort between the bandmates as they learn how to work together musically. While their first EP was about travel, uncertainty and movement, Star 99’s evolving security in playing with each other led to more reflections on stillness and connection.\u003c/p>\n\u003cp>“Now, I feel like we can butt heads and still love each other,” says Saoirse. “And, I think how much we love each other kind of comes through, which is fun.”\u003c/p>\n\u003cp>The band’s love for punk extends to the greater local scene, as they hope to continue playing shows accessible to all ages. Once free-spirited teen punks themselves, they aim to nurture newer generations of people with love for the music that raised them.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.instagram.com/p/CgQhIoDLqoc/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Star 99 begins touring this August\u003c/a>, with shows in Corvallis, Seattle, Portland, Fresno and Los Angeles. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Welcome to Pass the Aux, where KQED Arts & Culture brings you our favorite new tracks by Bay Area artists. \u003ca href=\"https://www.kqed.org/arts/tag/pass-the-aux\" target=\"_blank\" rel=\"noopener noreferrer\">Check out past entries and submit a song for future coverage\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>Before performing together in backyards, sheds and basements, the members of San Jose band \u003ca href=\"https://star99.bandcamp.com/album/star-99\" target=\"_blank\" rel=\"noopener noreferrer\">Star 99\u003c/a> spent their younger years exploring the South Bay’s small but sturdy indie punk scene. Saoirse Alesandro, Jeremy Romero, Thomas Romero and Chris Gough attended shows, danced and headbanged together to the loud, energetic songs of their favorite bands Shinobu and Algernon Cadwallader.\u003c/p>\n\u003cp>Now, years later, they make their own music—emerging into the punk archive they grew up admiring. On July 10, they released their latest project \u003cem>STAR 99\u003c/em>, featuring three songs titled “Born to Run,” “Vegas” and “Wyoming.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=911153190/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>Upon first listen, Star 99’s songs start and end in a flurry, reading like jumbled diary entries set to blaring instrumentals that swell to satisfying resolutions. “All of the lyrics are from my journal,” Saoirse, the band’s lead vocalist confirms, describing the song making process as an “exorcism.” She pulls from her most personal thoughts and, with her bandmates, tinkers with them to various chord progressions until something clicks.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“And beautiful as ever, you’re the smell of the air in December / And everything got fucked up but school starts again in September / And no one’s allowed into my room,” Alesandro sings.\u003c/p>\n\u003cp>While this single retains some of the playfulness of Star 99’s 2021 debut EP \u003cem>My Year in Lists\u003c/em>, “Born to Run” experiments with slower melodies that emphasize the wistful tenderness of past relationships: “T-shirts huddled in corners in warehouse rooms / Pick through a pile and find it soon / Reno’s got casinos and I’ve got you / The morning when we’re waking up / The coffee grows cold in the cup.”\u003c/p>\n\u003cp>Alesandro attributes this newfound slowness in their songs to the growing comfort between the bandmates as they learn how to work together musically. While their first EP was about travel, uncertainty and movement, Star 99’s evolving security in playing with each other led to more reflections on stillness and connection.\u003c/p>\n\u003cp>“Now, I feel like we can butt heads and still love each other,” says Saoirse. “And, I think how much we love each other kind of comes through, which is fun.”\u003c/p>\n\u003cp>The band’s love for punk extends to the greater local scene, as they hope to continue playing shows accessible to all ages. Once free-spirited teen punks themselves, they aim to nurture newer generations of people with love for the music that raised them.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.instagram.com/p/CgQhIoDLqoc/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Star 99 begins touring this August\u003c/a>, with shows in Corvallis, Seattle, Portland, Fresno and Los Angeles. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "For San Jose's Freeman Flow, Live Hip-Hop 'Reminds Us How We're Connected'",
"headTitle": "For San Jose’s Freeman Flow, Live Hip-Hop ‘Reminds Us How We’re Connected’ | KQED",
"content": "\u003cp>My first encounter with Jeff Turner, also known as \u003ca href=\"https://www.instagram.com/thefreemanflow/\" target=\"_blank\" rel=\"noopener noreferrer\">Freeman Flow\u003c/a>, was watching him conduct an impromptu freestyle exercise. It was a couple months ago, at a gathering at San Francisco’s District Six event space, where Turner hadn’t expected to perform—but when prompted, he was ready: I watched as the rapper/singer built an off-the-dome verse around any word suggested by an audience member, knocked his knuckles against the body of his guitar, strummed its strings and beat-boxed.\u003c/p>\n\u003cp>I took my opportunity to get involved, and yelled out “Graduation!” since I was only about a week away from completing my undergraduate degree.\u003c/p>\n\u003cp>Turner came back with:\u003c/p>\n\u003cp>\u003cem>Graduation! Oh my gosh, yes it’s time! \u003c/em>\u003cbr>\n\u003cem>Graduation, finally you’ve reached the finish line\u003c/em>\u003cbr>\n\u003cem>So congratulations, and yes indeed we’re gonna search\u003c/em>\u003cbr>\n\u003cem>You did all of that motha motha effin homework\u003c/em>\u003c/p>\n\u003cp>This interaction sums up Turner as an artist: a master of instruments, freestyling and live street performance, whose music evokes a sense of community—with a focus on audience interaction.\u003c/p>\n\u003cfigure id=\"attachment_13915857\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/Image-from-iOS-7-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915857\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/Image-from-iOS-7-800x530.jpg\" alt=\"A young man in a backwards cap smiles as he raps into a microphone\" width=\"800\" height=\"530\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Image-from-iOS-7-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Image-from-iOS-7-1020x676.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Image-from-iOS-7-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Image-from-iOS-7-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Image-from-iOS-7-1536x1017.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Image-from-iOS-7-2048x1356.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Image-from-iOS-7-1920x1272.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Jeff Turner \u003ccite>(Courtesy Jeff Turner)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I’m interested in keeping the soul in (music), and the human element in it, the more digital it all becomes,” says Turner. “I’ve always been interested in live performance that evokes the best out of people and makes real-life memories.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Turner grew up in San Jose, where he was in the foster care system from the age of 7—an experience that had a “profound effect” on his passion for poetry, he says. Growing up in that system created “lots of intense feelings, and you need a place to put them,” says Turner.\u003c/p>\n\u003cp>In high school, he was introduced to rhyming on a beat when he noticed two groups of students facing off against each other in a hallway. Turner walked over to the groups, expecting to see a fight, but what he witnessed next changed his life.\u003c/p>\n\u003cp>The students launched into a cypher—a collaborative, freestyle rap session—with one person beat-boxing and another rapping. “That piqued my curiosity,” Turner says. “The cypher is a place that you can say anything, and that’s a rare place for young people.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=2GNJssDrfzc\u003c/p>\n\u003cp>Though his first time hopping into a cypher “didn’t go so well,” Turner says it lit up a conviction in him to perfect his performance skills.\u003c/p>\n\u003cp>He did just that every week for five years. From ages 21 to 25, Turner would meet up with other freestyle artists at a bar called Johnny V’s in downtown San Jose on Wednesday nights, and rhyme back and forth in front of crowds for five hours straight. Turner says those sessions “made me an excellent live performer because I understood what it was to perform with others, and in front of people.”\u003c/p>\n\u003cp>His street performance grind paid off when he joined the professional cypher circuit with the San Francisco group Team Backpack in 2012. The verses Turner spit as part of Team Backpack garnered millions of views online, and attracted fans to his produced music. Soon, he was getting booked to open for acts like Bone Thugs-n-Harmony, Andre Nickatina and Atmosphere.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=SR4UYw-MdAM\u003c/p>\n\u003cp>Now 34, Turner says his love for connecting with others through live performance is stronger than ever. In part, he says, his passion was relit by feelings of isolation brought on by the pandemic.\u003c/p>\n\u003cp>“I think we’re feeling a little stuck still in one spot. Maybe from being inside, we all got inside our heads. I know that I definitely was up in my head a lot, especially in the last couple of years during COVID,” Turner says. “This is my way of being my own therapist, and coming out of my mind and out of what I think, and learning about myself through others’ stories.”\u003c/p>\n\u003cp>Don Budd, a music producer who has collaborated with Turner for 11 years, says Turner cares deeply about how his music will translate to a live audience; in fact, that’s “always a major portion of what he’s thinking about” when making music in the studio. “I wish more people would think that way,” Budd says.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=RoUuAwaQM6A\u003c/p>\n\u003cp>Turner’s latest album, \u003cem>WAMO\u003c/em>, was released in 2021; the title stands for We All Make One. That phrase “sums up a lot of what I see myself and my music doing in the world: reminding people of the ways that we are connected,” says the rapper.\u003c/p>\n\u003cp>This philosophy has recently taken him to some far-out places to spread the \u003cem>WAMO\u003c/em> gospel. Turner speaks highly of his experiences performing in Chile, Spain and Italy, where language barriers presented an extra challenge.\u003c/p>\n\u003cp>“There’s a level of conviction that you have to have, but also humility,” he says of performing in another country. “I have a lot of love in my heart, but I still have a lot of (difficult) things that I’m dealing with as well, and I think that they could feel that. I wasn’t too soft or too hard, just strong, like a peaceful warrior.”\u003c/p>\n\u003cp>He also learned a lot from his fans abroad. “I think expanding our world and learning (about) other cultures and languages is an obligation as an American because we’re so in our own little bubble,” he says. “It widened my ideas on what rhythm and flow is, and what hip-hop is.”\u003c/p>\n\u003cfigure id=\"attachment_13915861\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/Image-from-iOS-9.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13915861\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/Image-from-iOS-9.jpg\" alt=\"a rapper performs on stage in front of hundreds of fans with their arms in the air\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Image-from-iOS-9.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Image-from-iOS-9-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Image-from-iOS-9-768x432.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Jeff Turner performs in Santiago, Chile in 2018. \u003ccite>(Courtesy Jeff Turner)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Soon, he’ll return to Europe to perform, including stops in Sweden, Spain and Italy. Until then, he’s giving back to the Bay Area community, as a “professional expert” teaching youth ages 11 to 24 music production and songwriting three times a week at the REACH Ashland Youth Center in San Leandro.\u003c/p>\n\u003cp>“Jeff Turner brings his full self to every class that these young people experience with him. He never phones it in,” says Joaquin Newman, the arts program manager at REACH Ashland Youth Center, adding that it’s sometimes tough to fit his schedule when Turner is touring the world—but they make it work because he’s so passionate about mentorship.\u003c/p>\n\u003cp>“He doesn’t come to our classroom flexing and showing what an amazing performer he is,” says Newman, who’s been working with Turner since 2015. “He brings his talent to these young people and it kind of sneaks up on them by just having a really strong relationship … he really sees the importance of everybody having the access to learn a creative craft. He sees it as an important element of building equity in our society.”\u003c/p>\n\u003cp>Turner echoes this sentiment, noting that he wants “to highlight the purpose of music”: to bring folks together.\u003c/p>\n\u003cp>“Before there was celebrity people used music—and still do use music—to tell a story and to channel what they’re going through,” Turner says. “I think that music is pretty much a fire to gather around so people can see each other.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=jLB0EnnjYIs\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"excerpt": "After a childhood in the foster care system, Jeff Turner says freestyling changed his life—and now he wants to pay it forward. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>My first encounter with Jeff Turner, also known as \u003ca href=\"https://www.instagram.com/thefreemanflow/\" target=\"_blank\" rel=\"noopener noreferrer\">Freeman Flow\u003c/a>, was watching him conduct an impromptu freestyle exercise. It was a couple months ago, at a gathering at San Francisco’s District Six event space, where Turner hadn’t expected to perform—but when prompted, he was ready: I watched as the rapper/singer built an off-the-dome verse around any word suggested by an audience member, knocked his knuckles against the body of his guitar, strummed its strings and beat-boxed.\u003c/p>\n\u003cp>I took my opportunity to get involved, and yelled out “Graduation!” since I was only about a week away from completing my undergraduate degree.\u003c/p>\n\u003cp>Turner came back with:\u003c/p>\n\u003cp>\u003cem>Graduation! Oh my gosh, yes it’s time! \u003c/em>\u003cbr>\n\u003cem>Graduation, finally you’ve reached the finish line\u003c/em>\u003cbr>\n\u003cem>So congratulations, and yes indeed we’re gonna search\u003c/em>\u003cbr>\n\u003cem>You did all of that motha motha effin homework\u003c/em>\u003c/p>\n\u003cp>This interaction sums up Turner as an artist: a master of instruments, freestyling and live street performance, whose music evokes a sense of community—with a focus on audience interaction.\u003c/p>\n\u003cfigure id=\"attachment_13915857\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/Image-from-iOS-7-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915857\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/Image-from-iOS-7-800x530.jpg\" alt=\"A young man in a backwards cap smiles as he raps into a microphone\" width=\"800\" height=\"530\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Image-from-iOS-7-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Image-from-iOS-7-1020x676.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Image-from-iOS-7-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Image-from-iOS-7-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Image-from-iOS-7-1536x1017.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Image-from-iOS-7-2048x1356.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Image-from-iOS-7-1920x1272.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Jeff Turner \u003ccite>(Courtesy Jeff Turner)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I’m interested in keeping the soul in (music), and the human element in it, the more digital it all becomes,” says Turner. “I’ve always been interested in live performance that evokes the best out of people and makes real-life memories.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Turner grew up in San Jose, where he was in the foster care system from the age of 7—an experience that had a “profound effect” on his passion for poetry, he says. Growing up in that system created “lots of intense feelings, and you need a place to put them,” says Turner.\u003c/p>\n\u003cp>In high school, he was introduced to rhyming on a beat when he noticed two groups of students facing off against each other in a hallway. Turner walked over to the groups, expecting to see a fight, but what he witnessed next changed his life.\u003c/p>\n\u003cp>The students launched into a cypher—a collaborative, freestyle rap session—with one person beat-boxing and another rapping. “That piqued my curiosity,” Turner says. “The cypher is a place that you can say anything, and that’s a rare place for young people.”\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/2GNJssDrfzc'\n title='//www.youtube.com/embed/2GNJssDrfzc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Though his first time hopping into a cypher “didn’t go so well,” Turner says it lit up a conviction in him to perfect his performance skills.\u003c/p>\n\u003cp>He did just that every week for five years. From ages 21 to 25, Turner would meet up with other freestyle artists at a bar called Johnny V’s in downtown San Jose on Wednesday nights, and rhyme back and forth in front of crowds for five hours straight. Turner says those sessions “made me an excellent live performer because I understood what it was to perform with others, and in front of people.”\u003c/p>\n\u003cp>His street performance grind paid off when he joined the professional cypher circuit with the San Francisco group Team Backpack in 2012. The verses Turner spit as part of Team Backpack garnered millions of views online, and attracted fans to his produced music. Soon, he was getting booked to open for acts like Bone Thugs-n-Harmony, Andre Nickatina and Atmosphere.\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/SR4UYw-MdAM'\n title='//www.youtube.com/embed/SR4UYw-MdAM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Now 34, Turner says his love for connecting with others through live performance is stronger than ever. In part, he says, his passion was relit by feelings of isolation brought on by the pandemic.\u003c/p>\n\u003cp>“I think we’re feeling a little stuck still in one spot. Maybe from being inside, we all got inside our heads. I know that I definitely was up in my head a lot, especially in the last couple of years during COVID,” Turner says. “This is my way of being my own therapist, and coming out of my mind and out of what I think, and learning about myself through others’ stories.”\u003c/p>\n\u003cp>Don Budd, a music producer who has collaborated with Turner for 11 years, says Turner cares deeply about how his music will translate to a live audience; in fact, that’s “always a major portion of what he’s thinking about” when making music in the studio. “I wish more people would think that way,” Budd says.\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/RoUuAwaQM6A'\n title='//www.youtube.com/embed/RoUuAwaQM6A'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Turner’s latest album, \u003cem>WAMO\u003c/em>, was released in 2021; the title stands for We All Make One. That phrase “sums up a lot of what I see myself and my music doing in the world: reminding people of the ways that we are connected,” says the rapper.\u003c/p>\n\u003cp>This philosophy has recently taken him to some far-out places to spread the \u003cem>WAMO\u003c/em> gospel. Turner speaks highly of his experiences performing in Chile, Spain and Italy, where language barriers presented an extra challenge.\u003c/p>\n\u003cp>“There’s a level of conviction that you have to have, but also humility,” he says of performing in another country. “I have a lot of love in my heart, but I still have a lot of (difficult) things that I’m dealing with as well, and I think that they could feel that. I wasn’t too soft or too hard, just strong, like a peaceful warrior.”\u003c/p>\n\u003cp>He also learned a lot from his fans abroad. “I think expanding our world and learning (about) other cultures and languages is an obligation as an American because we’re so in our own little bubble,” he says. “It widened my ideas on what rhythm and flow is, and what hip-hop is.”\u003c/p>\n\u003cfigure id=\"attachment_13915861\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/Image-from-iOS-9.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13915861\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/Image-from-iOS-9.jpg\" alt=\"a rapper performs on stage in front of hundreds of fans with their arms in the air\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Image-from-iOS-9.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Image-from-iOS-9-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Image-from-iOS-9-768x432.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Jeff Turner performs in Santiago, Chile in 2018. \u003ccite>(Courtesy Jeff Turner)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Soon, he’ll return to Europe to perform, including stops in Sweden, Spain and Italy. 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He sees it as an important element of building equity in our society.”\u003c/p>\n\u003cp>Turner echoes this sentiment, noting that he wants “to highlight the purpose of music”: to bring folks together.\u003c/p>\n\u003cp>“Before there was celebrity people used music—and still do use music—to tell a story and to channel what they’re going through,” Turner says. “I think that music is pretty much a fire to gather around so people can see each other.”\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/jLB0EnnjYIs'\n title='//www.youtube.com/embed/jLB0EnnjYIs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Everyone knows that social media causes anxiety. \u003ca href=\"https://www.ncbi.nlm.nih.gov/pmc/articles/PMC7364393/\" target=\"_blank\" rel=\"noopener noreferrer\">Study\u003c/a> after \u003ca href=\"https://www.ncbi.nlm.nih.gov/pmc/articles/PMC5904786/\" target=\"_blank\" rel=\"noopener noreferrer\">study\u003c/a> has proved it, and in late 2021, \u003ca href=\"https://www.npr.org/2021/09/30/1041864356/instagram-kids-safety-congress-hearing\" target=\"_blank\" rel=\"noopener noreferrer\">Senate hearings addressed it\u003c/a>.\u003c/p>\n\u003cp>Conveying this modern reality through art isn’t an easy task. And while the movie adaptation of \u003cem>Dear Evan Hansen\u003c/em> was poorly made, overlong and \u003ca href=\"https://www.rottentomatoes.com/m/dear_evan_hansen\" target=\"_blank\" rel=\"noopener noreferrer\">terribly reviewed\u003c/a>, the musical of \u003cem>Dear Evan Hansen\u003c/em> (which runs June 8–19 in San Jose) captures it perfectly.\u003c/p>\n\u003cp>Social media is a constant, ambient presence in the modern world, surrounding its users and informing their every move. In the stage set of \u003cem>Dear Evan Hansen\u003c/em>, this is made literal: social media feeds are projected upon giant pillars, towering over the action on stage. The posts and tweets are both the cause and commentariat of the story unfolding below, a ceaseless threat upon the musical’s high school-age characters.\u003c/p>\n\u003cp>And it’s no wonder that the main character, Evan Hansen, has extreme anxiety.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Dear Evan Hansen\u003c/em>‘s script is not without its flaws. I am not the first to point out the finale’s lack of comeuppance, or that some of the play’s online references are already obsolete and need updating. But for anyone who’s tried to coexist with social media and found it to be at first fascinating, then addicting, then boring, and ultimately paralyzing, the show captures the experience really, really well.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003cem>‘Dear Evan Hansen’ runs through June 19 at the San Jose Center for the Performing Arts. \u003ca href=\"https://broadwaysanjose.com/shows/dear-evan-hansen/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Everyone knows that social media causes anxiety. \u003ca href=\"https://www.ncbi.nlm.nih.gov/pmc/articles/PMC7364393/\" target=\"_blank\" rel=\"noopener noreferrer\">Study\u003c/a> after \u003ca href=\"https://www.ncbi.nlm.nih.gov/pmc/articles/PMC5904786/\" target=\"_blank\" rel=\"noopener noreferrer\">study\u003c/a> has proved it, and in late 2021, \u003ca href=\"https://www.npr.org/2021/09/30/1041864356/instagram-kids-safety-congress-hearing\" target=\"_blank\" rel=\"noopener noreferrer\">Senate hearings addressed it\u003c/a>.\u003c/p>\n\u003cp>Conveying this modern reality through art isn’t an easy task. And while the movie adaptation of \u003cem>Dear Evan Hansen\u003c/em> was poorly made, overlong and \u003ca href=\"https://www.rottentomatoes.com/m/dear_evan_hansen\" target=\"_blank\" rel=\"noopener noreferrer\">terribly reviewed\u003c/a>, the musical of \u003cem>Dear Evan Hansen\u003c/em> (which runs June 8–19 in San Jose) captures it perfectly.\u003c/p>\n\u003cp>Social media is a constant, ambient presence in the modern world, surrounding its users and informing their every move. In the stage set of \u003cem>Dear Evan Hansen\u003c/em>, this is made literal: social media feeds are projected upon giant pillars, towering over the action on stage. The posts and tweets are both the cause and commentariat of the story unfolding below, a ceaseless threat upon the musical’s high school-age characters.\u003c/p>\n\u003cp>And it’s no wonder that the main character, Evan Hansen, has extreme anxiety.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Dear Evan Hansen\u003c/em>‘s script is not without its flaws. I am not the first to point out the finale’s lack of comeuppance, or that some of the play’s online references are already obsolete and need updating. But for anyone who’s tried to coexist with social media and found it to be at first fascinating, then addicting, then boring, and ultimately paralyzing, the show captures the experience really, really well.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003cem>‘Dear Evan Hansen’ runs through June 19 at the San Jose Center for the Performing Arts. \u003ca href=\"https://broadwaysanjose.com/shows/dear-evan-hansen/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"title": "Try the Pie’s ‘New Dust’ Contemplates Beauty In a Season of Loss",
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"content": "\u003cp>\u003cem>Welcome to Pass the Aux, where KQED Arts & Culture brings you our favorite new tracks by Bay Area artists. Check out past entries and submit a song for future coverage \u003ca href=\"https://www.kqed.org/arts/tag/pass-the-aux\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>The last two years have been colored by loss and grief for so many—whether the literal loss of loved ones, or the profound reckoning the pandemic has forced on so many people’s careers, health, living spaces or social communities.\u003c/p>\n\u003cp>Bean Tupou, guitarist and vocalist of the Bay Area indie punk outfit \u003ca href=\"https://trythepie.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Try the Pie\u003c/a>, is no different. “I lost some family members and friends in 2020, so connecting with my family was a big part of my life during the pandemic,” says Tupou, who grew up in San Jose and moved to San Francisco in 2016. “Those losses took me a while to work through.”\u003c/p>\n\u003cp>“New Dust,” Try the Pie’s first new release since their excellent 2015 full-length \u003cem>Domestication\u003c/em>, approaches the topic with a deceptive sweetness. An uptempo, melodic grunge track with heavy guitars, harmonies and an earworm of a hook, it culminates in a cacophony of reverb before Tupou delivers the final refrain: “And it scares me to know that I’m like dust / and it scares me to know that I’m exactly what you want.” It all calls to mind the sweet-salty pull of ’90s indie titans like Juliana Hatfield or the Breeders.\u003c/p>\n\u003cp>“It’s based on fleeting thoughts someone might have specifically after a loved one dies,” says Tupou. “I think it’s more of a reflection of how beautiful it can be to be close to someone and how finite that is.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/track=2970449998/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>Recorded with \u003ca href=\"https://www.kqed.org/arts/13900577/interns-turned-engineers-take-the-reins-at-sfs-historic-different-fur-studios\" target=\"_blank\" rel=\"noopener noreferrer\">Different Fur’s Grace Coleman\u003c/a> at El Studio in San Francisco, the track shows off the new full-band sound after a few years as mostly a solo act: Bailey Lupo joined the band on bass in 2015, and second guitarist Laine Barriga joined in 2018; drummer Nick Lopez and Tupou are original members.\u003c/p>\n\u003cp>“New Dust” is also Try the Pie’s first release since signing to the Philadelphia-based, queer-run label \u003ca href=\"https://getbetterrecords.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Get Better Records\u003c/a>, a move that Tupou says has opened up new possibilities for the group, adding that they have plans to release more music within the year. So no, fans won’t have to wait until 2029 for the next record. [aside postid='arts_11884077']\u003c/p>\n\u003cp>“The last seven years, personally, were a huge period of both growth and change for me, and I was definitely focused on other aspects of my life (aside from music), and I honestly felt out of practice and out of touch in some ways,” says Tupou. “Signing with them has helped me get back on the horse.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Welcome to Pass the Aux, where KQED Arts & Culture brings you our favorite new tracks by Bay Area artists. Check out past entries and submit a song for future coverage \u003ca href=\"https://www.kqed.org/arts/tag/pass-the-aux\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>The last two years have been colored by loss and grief for so many—whether the literal loss of loved ones, or the profound reckoning the pandemic has forced on so many people’s careers, health, living spaces or social communities.\u003c/p>\n\u003cp>Bean Tupou, guitarist and vocalist of the Bay Area indie punk outfit \u003ca href=\"https://trythepie.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Try the Pie\u003c/a>, is no different. “I lost some family members and friends in 2020, so connecting with my family was a big part of my life during the pandemic,” says Tupou, who grew up in San Jose and moved to San Francisco in 2016. “Those losses took me a while to work through.”\u003c/p>\n\u003cp>“New Dust,” Try the Pie’s first new release since their excellent 2015 full-length \u003cem>Domestication\u003c/em>, approaches the topic with a deceptive sweetness. An uptempo, melodic grunge track with heavy guitars, harmonies and an earworm of a hook, it culminates in a cacophony of reverb before Tupou delivers the final refrain: “And it scares me to know that I’m like dust / and it scares me to know that I’m exactly what you want.” It all calls to mind the sweet-salty pull of ’90s indie titans like Juliana Hatfield or the Breeders.\u003c/p>\n\u003cp>“It’s based on fleeting thoughts someone might have specifically after a loved one dies,” says Tupou. “I think it’s more of a reflection of how beautiful it can be to be close to someone and how finite that is.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/track=2970449998/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>Recorded with \u003ca href=\"https://www.kqed.org/arts/13900577/interns-turned-engineers-take-the-reins-at-sfs-historic-different-fur-studios\" target=\"_blank\" rel=\"noopener noreferrer\">Different Fur’s Grace Coleman\u003c/a> at El Studio in San Francisco, the track shows off the new full-band sound after a few years as mostly a solo act: Bailey Lupo joined the band on bass in 2015, and second guitarist Laine Barriga joined in 2018; drummer Nick Lopez and Tupou are original members.\u003c/p>\n\u003cp>“New Dust” is also Try the Pie’s first release since signing to the Philadelphia-based, queer-run label \u003ca href=\"https://getbetterrecords.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Get Better Records\u003c/a>, a move that Tupou says has opened up new possibilities for the group, adding that they have plans to release more music within the year. So no, fans won’t have to wait until 2029 for the next record. \u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cspan style=\"font-weight: 400\">[dropcap]V[/dropcap]iolet Diana Nguyen has a vivid memory of dismounting from a moped onto the dirt road that led to her auntie’s house in Vietnam, where she sat down to a sumptuous spread of dragon fruit, longan and lychee while her relatives badgered her about her romantic life. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">How do you translate a memory like that into a flavor or an aroma? \u003c/span>\u003cspan style=\"font-weight: 400\">That’s the type of question Nguyen attempts to answer when she creates tea blends for her new business, \u003c/span>\u003ca href=\"https://kinleaftea.com/\">\u003cspan style=\"font-weight: 400\">Kin Leaf Tea\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. Frequently sold out since it launched in November 2021,\u003c/span> \u003cspan style=\"font-weight: 400\">the South Bay company offers blended loose leaf teas rooted in Nguyen’s Vietnamese American upbringing—her memories of pandan waffles and sugarcane juice from San Jose’s food courts and meals shared with family during childhood visits to Vietnam.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The company’s story begins at a place that has become\u003c/span>\u003ca href=\"https://www.eater.com/2019/11/5/20942192/bubble-tea-boba-asian-american-diaspora\"> \u003cspan style=\"font-weight: 400\">a crucial marker of identity for many of the Bay Area’s Asian Americans\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">: a boba shop. While working as a boba barista on the Peninsula in her early 20s, Nguyen found that the food service industry’s rapid pace, combined with an unlimited access to caffeine, caused her to develop an unhealthy relationship with tea. She would leave work with jitters. At home, Nguyen started to treat the process of brewing hot tea as a ritual, carefully watching the water turn golden. She found that slowly sipping a cup of tea with friends and family inspired thoughtful conversations too. “It really forced me to slow down, make smaller batches and brew them for one or two people,” Nguyen says. “In that moment of brewing, you have to be present.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Nguyen remains an avid boba drinker, but she sees her new company as a retort to a fast-paced Silicon Valley fueled by caramelized tapioca pearls and 32-ounce cups of syrup-laden beverages. With Kin Leaf Tea, she wanted to combine the creative flavors found at boba shops with a more mindful approach, so she started exploring tea blends—mixtures of teas that may include flavorings like flowers, herbs and fruits. Typically, Nguyen says, these blends tend to use cheap filler ingredients and low-quality tea leaves that produce watery drinks. For example, lychee-flavored teas are often paired with overpowering amounts of rose: “It drove me nuts because I don’t want to drink potpourri on a daily basis.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13908970\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13908970\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/image_6483441-3.jpg\" alt='Hot water poured from a kettle into a white ceramic mug next to a canister of \"Milky Pandan\" tea leaves.' width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/image_6483441-3.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/image_6483441-3-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/image_6483441-3-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/image_6483441-3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/image_6483441-3-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/image_6483441-3-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/image_6483441-3-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The “Milky Pandan” blend is an ode to pandan waffles, a classic Vietnamese treat. \u003ccite>(Violet Diana Nguyen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">So, Nguyen set about the task of creating new tea blends using high-quality ingredients. For inspiration, she turned to her Vietnamese American childhood. After all, her aromatic school lunches and the family pictures she took amongst durian trees all served as a marker of difference for her when she was growing up. \u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Her process begins with matching each category of tea—black, white, oolong and so forth—to a specific memory. She asks herself, “What memories do I have, what sweets have I eaten, or what other foods are common in Asian culture or Vietnam?”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[pullquote size=\"large\" align=\"right\"]“Kin Leaf is a part of a movement that is changing the way both first-generation immigrants \u003cem>and\u003c/em> people unfamiliar with Vietnam understand Vietnamese culture.”[/pullquote]For example, the pool of coffee that sits at the bottom of Vietnamese bánh flan cà phê inspired Nguyen’s choice of similarly dark black tea leaves for Kin Leaf’s Black Amber blend. Then, in order to select the specific varieties of black tea in the blend, Nguyen attempted to recreate the flan’s sweetness, roasted flavor and soothing iced-coffee base. She eventually arrived at a mixture that minimized astringency and bitterness while embracing the dessert’s honey and caramel flavor profiles. Slivered almonds complement the tea leaves and add nuttiness. The blend evokes flan, Vietnamese coffee and sweetened condensed milk despite having no added sugar. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Kin Leaf Tea currently offers three other blends: Abundance, a celebration of the dried fruit and candies shared during the Lunar New Year; Lychee’s Pearls, which evokes fruit platters laid out during family visits; and Milky Pandan, an ode to one of Nguyen’s favorite childhood treats—the aromatic, bright green pandan waffle.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Each new blend requires weeks of experimentation. Sometimes, Nguyen explains, an ingredient’s effects can be unpredictable. Dried dragon fruit produced teas with a vibrant pink color but lacked flavor. Pandan added a pleasant, grassy aroma to oolong tea.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Drawing inspiration from other second-generation Asian American businesses in the Bay Area like\u003c/span>\u003ca href=\"https://www.socolachocolates.com/products/the-little-saigon-box\"> \u003cspan style=\"font-weight: 400\">Socola Chocolatier\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, \u003c/span>\u003ca href=\"http://www.cabakehouse.com/\">\u003cspan style=\"font-weight: 400\">CA Bakehouse\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> and \u003c/span>\u003ca href=\"https://christinescookie.com/\">\u003cspan style=\"font-weight: 400\">Christine’s Cookie Co.\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, Nguyen believes Kin Leaf is a part of a movement that is changing the way both first-generation immigrants \u003cem>and\u003c/em> people unfamiliar with Vietnam understand Vietnamese culture. For instance, Nguyen is a fan of Socola’s “Little Saigon Box,” which uses unexpected flavors like ph\u003c/span>\u003cspan style=\"font-weight: 400\">ở and sriracha in its truffles.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">On the other hand, when Nguyen told her relatives in Vietnam about the origins of Kin Leaf’s Milky Pandan blend, one of them was surprised that she would draw inspiration from such a common, everyday food. Why turn a waffle into a tea blend? Her response: “It takes a lot of experience with being proud of your heritage.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[pullquote size=\"large\" align=\"right\"]“[Kin Leaf Tea] is me saying [to my parents], ‘This is what I learned from you and your work ethic.'”[/pullquote]Nguyen, who holds a master’s degree in sustainable international development, explains that academics often reduce developing countries like Vietnam to their agricultural and economic outputs. But second-generation businesses like Kin Leaf Tea believe there’s value in telling stories about their cultures’ everyday flavors. Nguyen struggles to find the right word to explain Kin Leaf’s relationship to Vietnamese culture—elevate, change, reshape? She knows that rich cultural traditions have long existed in Vietnam, but she also believes her worldview can inspire new ways to celebrate those traditions.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[aside postID='arts_13908681,arts_13904913,arts_13902507']For Nguyen, Kin Leaf Tea is all about “changing perspectives, getting people excited about something that has already been there, but showing them how it’s exciting to me because I see it differently.” Her tea blends are a way of publicly embracing dishes that she was mocked for throughout school, even in college. They honor and remix longstanding Vietnamese food traditions from the perspective of a second-generation Vietnamese American who has had to learn to love them.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">A lifelong hustler, Nguyen credits her immigrant parents for inspiring her to turn this interest in tea into a business. Wanting to chip in while her mother worked tiring jobs in the fast-food industry, a younger Nguyen would fill up hundreds of water balloons and sell them for quarters. Now, Nguyen hopes that her parents can see Kin Leaf Tea as an expression of gratitude, even if\u003c/span>\u003ca href=\"https://www.huffpost.com/archive/ca/entry/proud-of-you-children-of-immigrant-parents_b_11397946\"> \u003cspan style=\"font-weight: 400\">cultural barriers make this a difficult conversation to have\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. \u003c/span>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I feel that in Asian cultures, it’s very common to not express your feelings or your thoughts,” Nguyen explains. “[Kin Leaf Tea] is me saying [to my parents], ‘This is what I learned from you and your work ethic.’”\u003c/span>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">V\u003c/span>\u003c/p>\u003cp>iolet Diana Nguyen has a vivid memory of dismounting from a moped onto the dirt road that led to her auntie’s house in Vietnam, where she sat down to a sumptuous spread of dragon fruit, longan and lychee while her relatives badgered her about her romantic life. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">How do you translate a memory like that into a flavor or an aroma? \u003c/span>\u003cspan style=\"font-weight: 400\">That’s the type of question Nguyen attempts to answer when she creates tea blends for her new business, \u003c/span>\u003ca href=\"https://kinleaftea.com/\">\u003cspan style=\"font-weight: 400\">Kin Leaf Tea\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. Frequently sold out since it launched in November 2021,\u003c/span> \u003cspan style=\"font-weight: 400\">the South Bay company offers blended loose leaf teas rooted in Nguyen’s Vietnamese American upbringing—her memories of pandan waffles and sugarcane juice from San Jose’s food courts and meals shared with family during childhood visits to Vietnam.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The company’s story begins at a place that has become\u003c/span>\u003ca href=\"https://www.eater.com/2019/11/5/20942192/bubble-tea-boba-asian-american-diaspora\"> \u003cspan style=\"font-weight: 400\">a crucial marker of identity for many of the Bay Area’s Asian Americans\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">: a boba shop. While working as a boba barista on the Peninsula in her early 20s, Nguyen found that the food service industry’s rapid pace, combined with an unlimited access to caffeine, caused her to develop an unhealthy relationship with tea. She would leave work with jitters. At home, Nguyen started to treat the process of brewing hot tea as a ritual, carefully watching the water turn golden. She found that slowly sipping a cup of tea with friends and family inspired thoughtful conversations too. “It really forced me to slow down, make smaller batches and brew them for one or two people,” Nguyen says. “In that moment of brewing, you have to be present.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Nguyen remains an avid boba drinker, but she sees her new company as a retort to a fast-paced Silicon Valley fueled by caramelized tapioca pearls and 32-ounce cups of syrup-laden beverages. With Kin Leaf Tea, she wanted to combine the creative flavors found at boba shops with a more mindful approach, so she started exploring tea blends—mixtures of teas that may include flavorings like flowers, herbs and fruits. Typically, Nguyen says, these blends tend to use cheap filler ingredients and low-quality tea leaves that produce watery drinks. For example, lychee-flavored teas are often paired with overpowering amounts of rose: “It drove me nuts because I don’t want to drink potpourri on a daily basis.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13908970\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13908970\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/image_6483441-3.jpg\" alt='Hot water poured from a kettle into a white ceramic mug next to a canister of \"Milky Pandan\" tea leaves.' width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/image_6483441-3.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/image_6483441-3-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/image_6483441-3-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/image_6483441-3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/image_6483441-3-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/image_6483441-3-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/image_6483441-3-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The “Milky Pandan” blend is an ode to pandan waffles, a classic Vietnamese treat. \u003ccite>(Violet Diana Nguyen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">So, Nguyen set about the task of creating new tea blends using high-quality ingredients. For inspiration, she turned to her Vietnamese American childhood. After all, her aromatic school lunches and the family pictures she took amongst durian trees all served as a marker of difference for her when she was growing up. \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\">Her process begins with matching each category of tea—black, white, oolong and so forth—to a specific memory. She asks herself, “What memories do I have, what sweets have I eaten, or what other foods are common in Asian culture or Vietnam?”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>For example, the pool of coffee that sits at the bottom of Vietnamese bánh flan cà phê inspired Nguyen’s choice of similarly dark black tea leaves for Kin Leaf’s Black Amber blend. Then, in order to select the specific varieties of black tea in the blend, Nguyen attempted to recreate the flan’s sweetness, roasted flavor and soothing iced-coffee base. She eventually arrived at a mixture that minimized astringency and bitterness while embracing the dessert’s honey and caramel flavor profiles. Slivered almonds complement the tea leaves and add nuttiness. The blend evokes flan, Vietnamese coffee and sweetened condensed milk despite having no added sugar. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Kin Leaf Tea currently offers three other blends: Abundance, a celebration of the dried fruit and candies shared during the Lunar New Year; Lychee’s Pearls, which evokes fruit platters laid out during family visits; and Milky Pandan, an ode to one of Nguyen’s favorite childhood treats—the aromatic, bright green pandan waffle.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Each new blend requires weeks of experimentation. Sometimes, Nguyen explains, an ingredient’s effects can be unpredictable. Dried dragon fruit produced teas with a vibrant pink color but lacked flavor. Pandan added a pleasant, grassy aroma to oolong tea.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Drawing inspiration from other second-generation Asian American businesses in the Bay Area like\u003c/span>\u003ca href=\"https://www.socolachocolates.com/products/the-little-saigon-box\"> \u003cspan style=\"font-weight: 400\">Socola Chocolatier\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, \u003c/span>\u003ca href=\"http://www.cabakehouse.com/\">\u003cspan style=\"font-weight: 400\">CA Bakehouse\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> and \u003c/span>\u003ca href=\"https://christinescookie.com/\">\u003cspan style=\"font-weight: 400\">Christine’s Cookie Co.\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, Nguyen believes Kin Leaf is a part of a movement that is changing the way both first-generation immigrants \u003cem>and\u003c/em> people unfamiliar with Vietnam understand Vietnamese culture. For instance, Nguyen is a fan of Socola’s “Little Saigon Box,” which uses unexpected flavors like ph\u003c/span>\u003cspan style=\"font-weight: 400\">ở and sriracha in its truffles.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">On the other hand, when Nguyen told her relatives in Vietnam about the origins of Kin Leaf’s Milky Pandan blend, one of them was surprised that she would draw inspiration from such a common, everyday food. Why turn a waffle into a tea blend? Her response: “It takes a lot of experience with being proud of your heritage.” \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>Nguyen, who holds a master’s degree in sustainable international development, explains that academics often reduce developing countries like Vietnam to their agricultural and economic outputs. But second-generation businesses like Kin Leaf Tea believe there’s value in telling stories about their cultures’ everyday flavors. Nguyen struggles to find the right word to explain Kin Leaf’s relationship to Vietnamese culture—elevate, change, reshape? She knows that rich cultural traditions have long existed in Vietnam, but she also believes her worldview can inspire new ways to celebrate those traditions.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>For Nguyen, Kin Leaf Tea is all about “changing perspectives, getting people excited about something that has already been there, but showing them how it’s exciting to me because I see it differently.” Her tea blends are a way of publicly embracing dishes that she was mocked for throughout school, even in college. They honor and remix longstanding Vietnamese food traditions from the perspective of a second-generation Vietnamese American who has had to learn to love them.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">A lifelong hustler, Nguyen credits her immigrant parents for inspiring her to turn this interest in tea into a business. Wanting to chip in while her mother worked tiring jobs in the fast-food industry, a younger Nguyen would fill up hundreds of water balloons and sell them for quarters. Now, Nguyen hopes that her parents can see Kin Leaf Tea as an expression of gratitude, even if\u003c/span>\u003ca href=\"https://www.huffpost.com/archive/ca/entry/proud-of-you-children-of-immigrant-parents_b_11397946\"> \u003cspan style=\"font-weight: 400\">cultural barriers make this a difficult conversation to have\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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