Ramzi Salti Champions Indie Arab Musicians With 'Arabology' Podcast
The Cookout Serves Up Joy, Healing for Black Queer and Trans Community
Missy Elliott Took the Bay Area ‘Out of This World’ at Oakland Arena
Jauz Brings His ‘Wicked’ and ‘Wise’ EDM to San Francisco
Oakland Ballers Pitcher Kelsie Whitmore Keeps Making History
Oakland Artist Joshua Mays Welcomes You to the Wondrous City of ‘Olgaruth’
Oakland’s 'couchdate' Makes Room for Creatives to Hang and Play
Mother and Daughter Duet in Multi-Disciplinary ‘flowers and fog’ Show
Oakland’s Leila Mottley on Her Debut Collection of Poetry ‘woke up no light’
Angela Davis and Black Student Leaders Talk Social Justice at Alameda High School Event
BAMPFA’s Great Migration Show Brings Nuance to a History Shared by Millions
Bruce Hornsby Brings New ‘Deep Sea Vents’ Tour to the Bay Area
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"content": "\u003cp>For over a decade, \u003ca href=\"https://dlcl.stanford.edu/people/ramzi-salti\">Ramzi Salti\u003c/a> — aka DJ Ramzi — has been sharing his deep passion for Arabic music with listeners all over the world through his radio show and podcast, \u003cem>\u003ca href=\"https://www.arabology.org/\">Arabology\u003c/a>\u003c/em>.\u003c/p>\n\u003cp>Between his encyclopedic-level musical knowledge and his voice — a deep rasp elevated by a warm, enthusiastic on-air demeanor — “radio deejay” is a fitting role for him. But Salti, an advanced lecturer in the Arabic program at Stanford University since 1999, didn’t expect to add the title to his résumé.\u003c/p>\n\u003cp>Then, the pro-democracy movements of the \u003ca href=\"https://www.history.com/topics/middle-east/arab-spring\">Arab Spring\u003c/a> sprouted in 2011.\u003c/p>\n\u003cp>“It was a very optimistic time. And the music that fueled the revolution was everywhere,” Salti said. “And people were asking me since I speak Arabic, ‘What are they saying?’”\u003c/p>\n\u003cp>Salti started translating songs as a resource for people on campus — like Egyptian band Cairokee’s popular anthem \u003ca href=\"https://www.youtube.com/watch?v=Fgw_zfLLvh8\">“Sout al Horeya,”\u003c/a> which means “Voice of Freedom,” and Tunisian singer Emel Mathlouthi’s iconic song \u003ca href=\"https://www.youtube.com/watch?v=wJ79iEfus8E\">“Kelmti Horra,”\u003c/a> which means “My Word Is Free.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>He was also invited to talk about the music of the Arab Spring on Stanford’s radio station, \u003ca href=\"https://kzsu.stanford.edu/\">KZSU\u003c/a>. The reaction was so positive that he was asked back a few more times. By the fourth guest spot, he was offered to train as a deejay and get a show of his own. And \u003cem>Arabology\u003c/em> was born.\u003c/p>\n\u003cfigure id=\"attachment_11993197\" class=\"wp-caption aligncenter\" style=\"max-width: 900px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/07/12659-arabology_news.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11993197\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/07/12659-arabology_news.jpg\" alt=\"A man wearing a striped button down shirt sits in front of an audio board and points while another man behind him looks at the controls.\" width=\"900\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/07/12659-arabology_news.jpg 900w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/07/12659-arabology_news-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/07/12659-arabology_news-160x107.jpg 160w\" sizes=\"(max-width: 900px) 100vw, 900px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Ahmad Qousi (left) assists Ramzi Salti in the early days of his show ‘Arabology’ at Stanford University’s KZSU radio station in Palo Alto in 2013. \u003ccite>(L.A. Cicero / Stanford News Service)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Before I was a deejay and before I had a radio show, I’ve always been an educator,” Salti said. “When I talk about \u003cem>Arabology\u003c/em>, I say it’s an educational show … it’s entertainment with a goal.”\u003c/p>\n\u003cp>His goal is to introduce people to the wide variety of Arabic music that exists, hoping they’ll enjoy it and be curious to hear more. Each \u003ca href=\"https://soundcloud.com/arabology/sets/podcasts\">two-hour episode\u003c/a> is filled with fun facts about Arabic music and artists, sprinkled across an array of indie Arabic tracks and remixes — everything from Arabic rock, electronica, jazz, pop, hip-hop and more. He also features \u003ca href=\"https://soundcloud.com/arabology/sets/arabology-interviews\">interviews\u003c/a> with musicians, actors, poets and other culture makers on the show, which began as a weekly live program on KZSU.\u003c/p>\n\u003cp>“When you hear about Arabic music, it just sounds foreign to so many people,” Salti said. “And it gets mixed in with religious chants and religion and Islam — all of which are beautiful — but there’s a whole other genre of Arabic music that is very secular.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=9UFCqtbKv_k\u003c/p>\n\u003cp>He also hopes that by exposing audiences to the diversity of sounds and stories of various Arab artists, the show will help push back against the stereotypes and demonization of Arabs and Arab Americans in society.\u003c/p>\n\u003cp>“If somebody walks away with the idea that, ‘wow, Arabic music isn’t as weird as I would have thought,’ or change their mind about the systematic demonization we see of Muslims, that would be what I want,” Salti said.\u003c/p>\n\u003ch2>A lifelong love of music\u003c/h2>\n\u003cp>Salti’s love for Arabic music started early. “Music has been my best friend since childhood,” Salti said. He grew up in Lebanon, and then in Jordan when his parents moved the family there after the Lebanese Civil War broke out in 1975.\u003c/p>\n\u003cp>“When I got to Jordan, I was so lonely, and I missed Lebanon so much,” he said. “So I would turn to music and Arabic music — especially the music of \u003ca href=\"https://www.youtube.com/channel/UCKXmVTvVMQz_fggy66HlgQQ\">Fairuz\u003c/a>, who is the number one Lebanese diva.”\u003c/p>\n\u003cp>In 1983, Salti moved to the U.S. to study at Santa Clara University. Just 17 years old and navigating the culture shock on his own, he again turned to music to help him cope. He credits the couple of cassettes of Arabic music he brought to California with getting him through college.\u003c/p>\n\u003cp>Among his peers, Salti’s ear for music stood out. At graduation, he and his friends made and exchanged cassette mixtapes as gifts. For his mixtape, he included songs with lyrics in English and French, plus some songs in Arabic.\u003c/p>\n\u003cp>“And I would wait to see the reaction,” Salti said. “And sure enough, I would always get positive feedback. And they would tell me … ‘the way you choose music is so great. You should have a radio show one day.’”\u003c/p>\n\u003ch2>A show where indie Arab artists shine\u003c/h2>\n\u003cp>Salti is especially known for featuring indie artists, women artists and LGBTQ artists on \u003cem>Arabology\u003c/em> — the singers and musicians often ignored by mainstream Arabic radio stations, particularly in more conservative areas.\u003c/p>\n\u003cp>“I can play that kind of music right here at KZSU in Arabic and not have to censor it,” Salti said. “In fact, I can praise it and disseminate it because it is beautiful, powerful music that unfortunately doesn’t get heard enough in the Arab world.”\u003c/p>\n\u003cfigure id=\"attachment_11993199\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/07/IMG_7805.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11993199\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/07/IMG_7805.jpg\" alt=\"A man wearing black clothing points at a piece of paper and stands with a woman who is holding the paper with a picture board and festive lights behind them.\" width=\"2048\" height=\"1366\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/07/IMG_7805.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/07/IMG_7805-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/07/IMG_7805-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/07/IMG_7805-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/07/IMG_7805-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/07/IMG_7805-1920x1281.jpg 1920w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">‘Arabology’ host Ramzi Salti with Lebanese singer Yasmine Hamdan at the KZSU radio station at Stanford University in November 2017. \u003ccite>(Photo courtesy of Ramzi Salti)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He’s hosted shows that have focused solely on Arab women’s voices. The music of Lebanese singer \u003ca href=\"https://yasminehamdan.com/en/#/#home\">Yasmine Hamdan\u003c/a> — who Salti refers to as “the queen of underground Lebanese music” — is featured often, and Hamdan herself has been a \u003ca href=\"https://soundcloud.com/arabology/yasminehamdan2017\">guest on the show\u003c/a>. Her 2009 electronic synthpop album \u003ca href=\"https://www.youtube.com/playlist?list=OLAK5uy_mNDTYjeKL3sOh2tk9DHu5izNioGedkb9Y\">\u003ci>Arabology\u003c/i>\u003c/a>, as part of the duo Y.A.S., inspired the name of Salti’s podcast.\u003c/p>\n\u003cp>Another artist he’s interviewed and played often on the show is \u003ca href=\"https://www.instagram.com/hamed.sinno/?hl=en\">Hamed Sinno\u003c/a>, who is openly gay. Sinno was the lead singer of the Lebanese band \u003ca href=\"https://www.youtube.com/watch?v=pfPvgAtgTNM\">Mashrou’ Leila\u003c/a> until the group disbanded in 2022 due to harassment and hate campaigns.\u003c/p>\n\u003cp>In 2009, they released a song titled \u003ca href=\"https://www.youtube.com/watch?v=f1GOmPx-Ba8\">“Shim El Yasmine,”\u003c/a> which translates to “Smell the Jasmine.” It’s a tender ballad about Sinno’s break-up with a man.\u003c/p>\n\u003cp>“It was such a moment because I think it was the first time we had an openly gay Muslim singer sing in Arabic about what [they are] going through,” Salti said.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-a2sOF_hhKw\u003c/p>\n\u003cp>Salti said the common theme in all the music he plays is coexistence, whether it’s from artists living on the margins of Arab society or songs with more explicit messages of unity.\u003c/p>\n\u003cp>One of his go-to artists in the latter vein is Lebanese singer \u003ca href=\"https://www.taniasaleh.com/\">Tania Saleh\u003c/a> and her song \u003ca href=\"https://www.youtube.com/watch?v=5_PbJg9v0CM\">“Omar and Ali.”\u003c/a> In it, she encourages Sunni and Shia Muslims to end their fighting and make peace.\u003c/p>\n\u003cp>“She says, ‘Get up Omar, get up Ali, shake hands and become brothers again,’” Salti explained.\u003c/p>\n\u003cp>“On a more personal level, I myself happen to be a Christian Arab, but I’m always assumed to be Muslim,” he added. “A lot of people think the whole Arab world is Muslim.”\u003c/p>\n\u003cp>He said he doesn’t typically correct people because he doesn’t want to feed an idea that there’s anything wrong with being Muslim. But it’s a reminder of the stereotypes he and other Arabs and Arab Americans face — and an added motivation for him to continue showcasing different Arab communities and perspectives through his show.\u003c/p>\n\u003ch2>‘We need to build bridges’\u003c/h2>\n\u003cp>Ramzi’s dedication to amplifying indie Arab musicians has built him a solid reputation in that scene. Today, the show is a go-to platform for emerging Arab and Arab American musicians.\u003c/p>\n\u003cp>“I’m at a stage where every morning when I look at my email, and I look at my messages, there are people telling me about other people, [or] that I need to discover this band. Some bands send me their demos,” Salti said.\u003c/p>\n\u003cp>Since the pandemic, Salti has been pre-recording his shows on a more sporadic schedule and releasing them as a \u003ca href=\"https://www.arabology.org/p/all-my-podcasts.html\">podcast\u003c/a> on streaming platforms, including a \u003ca href=\"https://www.youtube.com/channel/UCyf1lyybLSdVr6N4eOuLe0w\">video podcast\u003c/a> on YouTube. This summer, he’s spending time in Jordan, where he plans to interview artists for new episodes of \u003cem>Arabology\u003c/em>. He otherwise hasn’t released a new show in a while, which he said is intentional.\u003c/p>\n\u003cp>“It feels weird and inhuman, maybe, to be playing dance music from that region at a time where people in that region are living a nightmare,” Salti said, referring to the ongoing Israel-Hamas war in Gaza.\u003c/p>\n\u003cp>Salti said that instead, he’s been discovering poetry by poets in Gaza, set to music. He cites one such production by \u003ca href=\"http://www.checkpoint303.com/\">Checkpoint 303\u003c/a>, a nonprofit, experimental music collective founded by Tunisian artist SC Mocha and Palestinian artist SC Yosh. They \u003ca href=\"https://www.youtube.com/watch?v=v4QbAMK41XY\">remixed\u003c/a> the viral poem by Palestinian poet and professor Refaat Alareer titled \u003ca href=\"https://x.com/itranslate123/status/1719701312990830934\">“If I Must Die.”\u003c/a> Alareer published the poem on social media just weeks before he was killed in Gaza by an Israeli airstrike.\u003c/p>\n\u003cp>“The song itself is powerful,” Salti said. “It will make you really, really think about the violence that’s going on and how many potential artists, singers, poets are disappearing before they’ve even seen the world or been given a chance.”\u003c/p>\n\u003cp>At the same time, Salti acknowledges the power of music as a means of expression and hope.\u003c/p>\n\u003cp>“I think a lot of Arab artists and even artists in Gaza itself are finding that music and poetry [are] one of the few outlets they have left,” he said.\u003c/p>\n\u003cp>Salti also likes to share songs that combine Hebrew and Arabic when he comes across them. “I’m so proud of these artists who come together, you know, Jewish artists with Muslim artists recording a duet. That, to me, is beautiful.”\u003c/p>\n\u003cp>Because while Salti may switch up songs for his music mixes, one tune remains constant — his commitment to opening hearts and minds through music.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“What I want listeners to take away when they listen to one of my episodes has never changed, and that is to have a different view of the Arab world and to understand that the difference between East and West is not so vast; that we need to build bridges; that we can both learn from each other,” he said. “And for me, if music gets you to discover tolerance and coexistence, then I’ve done my job.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For over a decade, \u003ca href=\"https://dlcl.stanford.edu/people/ramzi-salti\">Ramzi Salti\u003c/a> — aka DJ Ramzi — has been sharing his deep passion for Arabic music with listeners all over the world through his radio show and podcast, \u003cem>\u003ca href=\"https://www.arabology.org/\">Arabology\u003c/a>\u003c/em>.\u003c/p>\n\u003cp>Between his encyclopedic-level musical knowledge and his voice — a deep rasp elevated by a warm, enthusiastic on-air demeanor — “radio deejay” is a fitting role for him. But Salti, an advanced lecturer in the Arabic program at Stanford University since 1999, didn’t expect to add the title to his résumé.\u003c/p>\n\u003cp>Then, the pro-democracy movements of the \u003ca href=\"https://www.history.com/topics/middle-east/arab-spring\">Arab Spring\u003c/a> sprouted in 2011.\u003c/p>\n\u003cp>“It was a very optimistic time. And the music that fueled the revolution was everywhere,” Salti said. “And people were asking me since I speak Arabic, ‘What are they saying?’”\u003c/p>\n\u003cp>Salti started translating songs as a resource for people on campus — like Egyptian band Cairokee’s popular anthem \u003ca href=\"https://www.youtube.com/watch?v=Fgw_zfLLvh8\">“Sout al Horeya,”\u003c/a> which means “Voice of Freedom,” and Tunisian singer Emel Mathlouthi’s iconic song \u003ca href=\"https://www.youtube.com/watch?v=wJ79iEfus8E\">“Kelmti Horra,”\u003c/a> which means “My Word Is Free.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>He was also invited to talk about the music of the Arab Spring on Stanford’s radio station, \u003ca href=\"https://kzsu.stanford.edu/\">KZSU\u003c/a>. The reaction was so positive that he was asked back a few more times. By the fourth guest spot, he was offered to train as a deejay and get a show of his own. And \u003cem>Arabology\u003c/em> was born.\u003c/p>\n\u003cfigure id=\"attachment_11993197\" class=\"wp-caption aligncenter\" style=\"max-width: 900px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/07/12659-arabology_news.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11993197\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/07/12659-arabology_news.jpg\" alt=\"A man wearing a striped button down shirt sits in front of an audio board and points while another man behind him looks at the controls.\" width=\"900\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/07/12659-arabology_news.jpg 900w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/07/12659-arabology_news-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/07/12659-arabology_news-160x107.jpg 160w\" sizes=\"(max-width: 900px) 100vw, 900px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Ahmad Qousi (left) assists Ramzi Salti in the early days of his show ‘Arabology’ at Stanford University’s KZSU radio station in Palo Alto in 2013. \u003ccite>(L.A. Cicero / Stanford News Service)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Before I was a deejay and before I had a radio show, I’ve always been an educator,” Salti said. “When I talk about \u003cem>Arabology\u003c/em>, I say it’s an educational show … it’s entertainment with a goal.”\u003c/p>\n\u003cp>His goal is to introduce people to the wide variety of Arabic music that exists, hoping they’ll enjoy it and be curious to hear more. Each \u003ca href=\"https://soundcloud.com/arabology/sets/podcasts\">two-hour episode\u003c/a> is filled with fun facts about Arabic music and artists, sprinkled across an array of indie Arabic tracks and remixes — everything from Arabic rock, electronica, jazz, pop, hip-hop and more. He also features \u003ca href=\"https://soundcloud.com/arabology/sets/arabology-interviews\">interviews\u003c/a> with musicians, actors, poets and other culture makers on the show, which began as a weekly live program on KZSU.\u003c/p>\n\u003cp>“When you hear about Arabic music, it just sounds foreign to so many people,” Salti said. “And it gets mixed in with religious chants and religion and Islam — all of which are beautiful — but there’s a whole other genre of Arabic music that is very secular.”\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/9UFCqtbKv_k'\n title='//www.youtube.com/embed/9UFCqtbKv_k'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>He also hopes that by exposing audiences to the diversity of sounds and stories of various Arab artists, the show will help push back against the stereotypes and demonization of Arabs and Arab Americans in society.\u003c/p>\n\u003cp>“If somebody walks away with the idea that, ‘wow, Arabic music isn’t as weird as I would have thought,’ or change their mind about the systematic demonization we see of Muslims, that would be what I want,” Salti said.\u003c/p>\n\u003ch2>A lifelong love of music\u003c/h2>\n\u003cp>Salti’s love for Arabic music started early. “Music has been my best friend since childhood,” Salti said. He grew up in Lebanon, and then in Jordan when his parents moved the family there after the Lebanese Civil War broke out in 1975.\u003c/p>\n\u003cp>“When I got to Jordan, I was so lonely, and I missed Lebanon so much,” he said. “So I would turn to music and Arabic music — especially the music of \u003ca href=\"https://www.youtube.com/channel/UCKXmVTvVMQz_fggy66HlgQQ\">Fairuz\u003c/a>, who is the number one Lebanese diva.”\u003c/p>\n\u003cp>In 1983, Salti moved to the U.S. to study at Santa Clara University. Just 17 years old and navigating the culture shock on his own, he again turned to music to help him cope. He credits the couple of cassettes of Arabic music he brought to California with getting him through college.\u003c/p>\n\u003cp>Among his peers, Salti’s ear for music stood out. At graduation, he and his friends made and exchanged cassette mixtapes as gifts. For his mixtape, he included songs with lyrics in English and French, plus some songs in Arabic.\u003c/p>\n\u003cp>“And I would wait to see the reaction,” Salti said. “And sure enough, I would always get positive feedback. And they would tell me … ‘the way you choose music is so great. You should have a radio show one day.’”\u003c/p>\n\u003ch2>A show where indie Arab artists shine\u003c/h2>\n\u003cp>Salti is especially known for featuring indie artists, women artists and LGBTQ artists on \u003cem>Arabology\u003c/em> — the singers and musicians often ignored by mainstream Arabic radio stations, particularly in more conservative areas.\u003c/p>\n\u003cp>“I can play that kind of music right here at KZSU in Arabic and not have to censor it,” Salti said. “In fact, I can praise it and disseminate it because it is beautiful, powerful music that unfortunately doesn’t get heard enough in the Arab world.”\u003c/p>\n\u003cfigure id=\"attachment_11993199\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/07/IMG_7805.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11993199\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/07/IMG_7805.jpg\" alt=\"A man wearing black clothing points at a piece of paper and stands with a woman who is holding the paper with a picture board and festive lights behind them.\" width=\"2048\" height=\"1366\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/07/IMG_7805.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/07/IMG_7805-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/07/IMG_7805-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/07/IMG_7805-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/07/IMG_7805-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/07/IMG_7805-1920x1281.jpg 1920w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">‘Arabology’ host Ramzi Salti with Lebanese singer Yasmine Hamdan at the KZSU radio station at Stanford University in November 2017. \u003ccite>(Photo courtesy of Ramzi Salti)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He’s hosted shows that have focused solely on Arab women’s voices. The music of Lebanese singer \u003ca href=\"https://yasminehamdan.com/en/#/#home\">Yasmine Hamdan\u003c/a> — who Salti refers to as “the queen of underground Lebanese music” — is featured often, and Hamdan herself has been a \u003ca href=\"https://soundcloud.com/arabology/yasminehamdan2017\">guest on the show\u003c/a>. Her 2009 electronic synthpop album \u003ca href=\"https://www.youtube.com/playlist?list=OLAK5uy_mNDTYjeKL3sOh2tk9DHu5izNioGedkb9Y\">\u003ci>Arabology\u003c/i>\u003c/a>, as part of the duo Y.A.S., inspired the name of Salti’s podcast.\u003c/p>\n\u003cp>Another artist he’s interviewed and played often on the show is \u003ca href=\"https://www.instagram.com/hamed.sinno/?hl=en\">Hamed Sinno\u003c/a>, who is openly gay. Sinno was the lead singer of the Lebanese band \u003ca href=\"https://www.youtube.com/watch?v=pfPvgAtgTNM\">Mashrou’ Leila\u003c/a> until the group disbanded in 2022 due to harassment and hate campaigns.\u003c/p>\n\u003cp>In 2009, they released a song titled \u003ca href=\"https://www.youtube.com/watch?v=f1GOmPx-Ba8\">“Shim El Yasmine,”\u003c/a> which translates to “Smell the Jasmine.” It’s a tender ballad about Sinno’s break-up with a man.\u003c/p>\n\u003cp>“It was such a moment because I think it was the first time we had an openly gay Muslim singer sing in Arabic about what [they are] going through,” Salti said.\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/-a2sOF_hhKw'\n title='//www.youtube.com/embed/-a2sOF_hhKw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Salti said the common theme in all the music he plays is coexistence, whether it’s from artists living on the margins of Arab society or songs with more explicit messages of unity.\u003c/p>\n\u003cp>One of his go-to artists in the latter vein is Lebanese singer \u003ca href=\"https://www.taniasaleh.com/\">Tania Saleh\u003c/a> and her song \u003ca href=\"https://www.youtube.com/watch?v=5_PbJg9v0CM\">“Omar and Ali.”\u003c/a> In it, she encourages Sunni and Shia Muslims to end their fighting and make peace.\u003c/p>\n\u003cp>“She says, ‘Get up Omar, get up Ali, shake hands and become brothers again,’” Salti explained.\u003c/p>\n\u003cp>“On a more personal level, I myself happen to be a Christian Arab, but I’m always assumed to be Muslim,” he added. “A lot of people think the whole Arab world is Muslim.”\u003c/p>\n\u003cp>He said he doesn’t typically correct people because he doesn’t want to feed an idea that there’s anything wrong with being Muslim. But it’s a reminder of the stereotypes he and other Arabs and Arab Americans face — and an added motivation for him to continue showcasing different Arab communities and perspectives through his show.\u003c/p>\n\u003ch2>‘We need to build bridges’\u003c/h2>\n\u003cp>Ramzi’s dedication to amplifying indie Arab musicians has built him a solid reputation in that scene. Today, the show is a go-to platform for emerging Arab and Arab American musicians.\u003c/p>\n\u003cp>“I’m at a stage where every morning when I look at my email, and I look at my messages, there are people telling me about other people, [or] that I need to discover this band. Some bands send me their demos,” Salti said.\u003c/p>\n\u003cp>Since the pandemic, Salti has been pre-recording his shows on a more sporadic schedule and releasing them as a \u003ca href=\"https://www.arabology.org/p/all-my-podcasts.html\">podcast\u003c/a> on streaming platforms, including a \u003ca href=\"https://www.youtube.com/channel/UCyf1lyybLSdVr6N4eOuLe0w\">video podcast\u003c/a> on YouTube. This summer, he’s spending time in Jordan, where he plans to interview artists for new episodes of \u003cem>Arabology\u003c/em>. He otherwise hasn’t released a new show in a while, which he said is intentional.\u003c/p>\n\u003cp>“It feels weird and inhuman, maybe, to be playing dance music from that region at a time where people in that region are living a nightmare,” Salti said, referring to the ongoing Israel-Hamas war in Gaza.\u003c/p>\n\u003cp>Salti said that instead, he’s been discovering poetry by poets in Gaza, set to music. He cites one such production by \u003ca href=\"http://www.checkpoint303.com/\">Checkpoint 303\u003c/a>, a nonprofit, experimental music collective founded by Tunisian artist SC Mocha and Palestinian artist SC Yosh. They \u003ca href=\"https://www.youtube.com/watch?v=v4QbAMK41XY\">remixed\u003c/a> the viral poem by Palestinian poet and professor Refaat Alareer titled \u003ca href=\"https://x.com/itranslate123/status/1719701312990830934\">“If I Must Die.”\u003c/a> Alareer published the poem on social media just weeks before he was killed in Gaza by an Israeli airstrike.\u003c/p>\n\u003cp>“The song itself is powerful,” Salti said. “It will make you really, really think about the violence that’s going on and how many potential artists, singers, poets are disappearing before they’ve even seen the world or been given a chance.”\u003c/p>\n\u003cp>At the same time, Salti acknowledges the power of music as a means of expression and hope.\u003c/p>\n\u003cp>“I think a lot of Arab artists and even artists in Gaza itself are finding that music and poetry [are] one of the few outlets they have left,” he said.\u003c/p>\n\u003cp>Salti also likes to share songs that combine Hebrew and Arabic when he comes across them. “I’m so proud of these artists who come together, you know, Jewish artists with Muslim artists recording a duet. That, to me, is beautiful.”\u003c/p>\n\u003cp>Because while Salti may switch up songs for his music mixes, one tune remains constant — his commitment to opening hearts and minds through music.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“What I want listeners to take away when they listen to one of my episodes has never changed, and that is to have a different view of the Arab world and to understand that the difference between East and West is not so vast; that we need to build bridges; that we can both learn from each other,” he said. “And for me, if music gets you to discover tolerance and coexistence, then I’ve done my job.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "the-cookout-oakland-black-queer-trans-community-events",
"title": "The Cookout Serves Up Joy, Healing for Black Queer and Trans Community",
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"headTitle": "The Cookout Serves Up Joy, Healing for Black Queer and Trans Community | KQED",
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"content": "\u003cp>\u003cspan style=\"font-weight: 400\">The late novelist Toni Morrison once said, “If there’s a book that you want to read, but it hasn’t been written yet, then you must write it.” Similarly, if there’s a joy-filled, music-bumping, booty-shaking, spirit-healing, all Black, queer and trans gathering — with food — you’d like to attend, but no one’s throwing it: you gotta put it on. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">That was the spirit behind two Oakland-based collectives, \u003c/span>\u003ca href=\"https://www.instagram.com/7000coils/\">\u003cspan style=\"font-weight: 400\">7000COILS\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> and \u003c/span>\u003ca href=\"https://www.instagram.com/blkinmotion/\">\u003cspan style=\"font-weight: 400\">BLKINMOTION\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, joining forces to create and host \u003c/span>\u003ca href=\"http://www.thecookoutparty.com\">\u003cspan style=\"font-weight: 400\">The Cookout\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We just noticed that there was a hole that needed to be filled in our community,” says \u003c/span>\u003ca href=\"https://www.instagram.com/kkingboo/\">\u003cspan style=\"font-weight: 400\">KKINGBOO\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, a DJ and co-founder of the art house-slash-record label 7000COILS, and one of eleven organizers of The Cookout. “The need for Black queers to have an exclusively Black space to gather and play — so that they could feel safe, seen; sprawl out, unfurl.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13960629\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13960629 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240701-THE-COOKOUT-MD-03-KQED-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240701-THE-COOKOUT-MD-03-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240701-THE-COOKOUT-MD-03-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240701-THE-COOKOUT-MD-03-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240701-THE-COOKOUT-MD-03-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240701-THE-COOKOUT-MD-03-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240701-THE-COOKOUT-MD-03-KQED-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240701-THE-COOKOUT-MD-03-KQED.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(Clockwise from top left) KKINGBOO, B Dukes, Madre Guía and Lalin St. Juste of 7000COILS at BlaQyard in Oakland on July 1, 2024. BlaQyard is a Black queer housing and land project, and the site of different events, including 2023’s The Cookout event. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Organizers say their first Cookout attracted over 300 people when it launched in 2022. But even with the large crowd, the feeling was familial. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“It was literally like your typical family cookout,” describes \u003c/span>\u003ca href=\"https://www.instagram.com/esora4u/\">\u003cspan style=\"font-weight: 400\">esora\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, a founding member and current co-lead organizer of BLKINMOTION, a collective of Black queer and trans artists and changemakers. “The grill’s poppin’ in the back, and then we had this \u003c/span>\u003ca href=\"https://www.instagram.com/p/CuA6rIHoH-t/\">\u003cspan style=\"font-weight: 400\">blacktop space\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> and we transformed it into what we had dreamed and imagined as kids — space that allows us to feel joy, to play with each other, to laugh with each other, but to also see each other fully.” \u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The event included spaces to dance, to sit and eat, as well as a dedicated healing and spiritual space set up with at least one altar, soft things to touch and tools for coloring. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“It’s not just about partying. It’s about offering opportunities for different sensory needs to be met,” says \u003c/span>\u003ca href=\"https://www.instagram.com/evinessence/?hl=en\">\u003cspan style=\"font-weight: 400\">Evin Glaude\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, another founding member and co-lead organizer of BLKINMOTION. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">There’s also a group of people dedicated to ensuring the vibe is respectful and consensual, and that attendees adhere to The Cookout’s \u003c/span>\u003ca href=\"https://www.instagram.com/p/CuFyQNly41v/?utm_source=ig_web_copy_link&igsh=MzRlODBiNWFlZA==\">\u003cspan style=\"font-weight: 400\">community guidelines\u003c/span>\u003c/a>,\u003cspan style=\"font-weight: 400\"> which are: Unity, Liberation, Love, Joy, Honor the Land and Security.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13960981\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960981\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240701-THE-COOKOUT-MD-05-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240701-THE-COOKOUT-MD-05-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240701-THE-COOKOUT-MD-05-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240701-THE-COOKOUT-MD-05-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240701-THE-COOKOUT-MD-05-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240701-THE-COOKOUT-MD-05-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240701-THE-COOKOUT-MD-05-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240701-THE-COOKOUT-MD-05-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Evin Glaude (left) and Esora of Black in Motion in Oakland on July 1, 2024. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Now in its third year, this summer’s gathering will be held on Aug. 24. Per The Cookout policy, the venue remains a secret until closer to the event, when it’s revealed only to those who’ve registered. Part of \u003c/span>\u003cspan style=\"font-weight: 400\">a\u003c/span>\u003cspan style=\"font-weight: 400\"> 2023 \u003c/span>\u003ca href=\"https://www.instagram.com/p/CtNIuq5A17n/\">\u003cspan style=\"font-weight: 400\">Instagram post\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> invited “\u003c/span>\u003cspan style=\"font-weight: 400\">our queer non-Black, POC and white fam” to support through donating or gifting an event ticket to a Black queer and/or trans person.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The Cookout organizers have more events on their summer calendar, too. It includes two Field Days featuring a kickball tournament (one held last month on Juneteenth and one coming up on July 14), plus a July 25 mixer featuring a panel discussion with Black queer and trans community organizers. [aside postid='arts_13903130']\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We want to tap into what is happening in our community and how we can continue to grow,” says \u003c/span>\u003ca href=\"https://www.instagram.com/lalin_music/?hl=en\">\u003cspan style=\"font-weight: 400\">Lalin St. Juste\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, a singer, songwriter and producer who is a co-founder of the 7000COILS collective. “And so that’s why we’re developing these additional events — because there are so many needs that we have. We want to laugh, we want to play, and we also need to cry, and we need to grieve and we need to talk about things.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Things like unpacking lessons from past events and other challenges that can come up when growing a new community experience — which is all being done against the backdrop of a wave of \u003c/span>\u003ca href=\"https://www.them.us/story/300-anti-lgbtq-bills-state-legislatures-aclu\">\u003cspan style=\"font-weight: 400\">anti-LGBTQ+ legislation\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> in the U.S. and ongoing \u003c/span>\u003ca href=\"https://www.nbcnews.com/nbc-out/out-news/least-33-transgender-gender-nonconforming-people-killed-year-report-fi-rcna125783\">\u003cspan style=\"font-weight: 400\">violence against trans people\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, especially Black trans women. [aside postid='arts_13960867']\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Being a black queer and/or trans person is a revolutionary act, every day you choose to live and be here,” Glaude says. “The Cookout is a plea for that to continue outside of just survival. If some of the most oppressed people are seeking liberation and able to celebrate and heal together, then there’s hope for us all.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">While the organizers’ current focus is on growing their local event offerings mindfully and intentionally, they also hold more expansive, long-term visions for The Cookout. [aside postid='arts_13960325']\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">If you ask KKINGBOO, that includes “the ultimate family reunion, worldwide” for Black queer and trans people — where pods form the way Burning Man has its camps, and everyone wears reunion T-shirts. “I just want people — especially those [who] have been estranged from family and are creating their own family now — to know that we’re creating that landing spot for you to find your fam.”\u003c/span>\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Cookout Field Day takes place July 14, followed by a panel and mixer on July 25 and The Cookout itself on Aug. 24. Follow \u003ca href=\"https://www.instagram.com/p/C9A2msHSoeu/?img_index=1\">The Cookout on Instagram\u003c/a> for updates and registration information.\u003c/em>\u003c/p>\n\n",
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"title": "The Cookout Invites Black Queer, Trans Community to Play | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">The late novelist Toni Morrison once said, “If there’s a book that you want to read, but it hasn’t been written yet, then you must write it.” Similarly, if there’s a joy-filled, music-bumping, booty-shaking, spirit-healing, all Black, queer and trans gathering — with food — you’d like to attend, but no one’s throwing it: you gotta put it on. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">That was the spirit behind two Oakland-based collectives, \u003c/span>\u003ca href=\"https://www.instagram.com/7000coils/\">\u003cspan style=\"font-weight: 400\">7000COILS\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> and \u003c/span>\u003ca href=\"https://www.instagram.com/blkinmotion/\">\u003cspan style=\"font-weight: 400\">BLKINMOTION\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, joining forces to create and host \u003c/span>\u003ca href=\"http://www.thecookoutparty.com\">\u003cspan style=\"font-weight: 400\">The Cookout\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We just noticed that there was a hole that needed to be filled in our community,” says \u003c/span>\u003ca href=\"https://www.instagram.com/kkingboo/\">\u003cspan style=\"font-weight: 400\">KKINGBOO\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, a DJ and co-founder of the art house-slash-record label 7000COILS, and one of eleven organizers of The Cookout. “The need for Black queers to have an exclusively Black space to gather and play — so that they could feel safe, seen; sprawl out, unfurl.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13960629\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13960629 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240701-THE-COOKOUT-MD-03-KQED-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240701-THE-COOKOUT-MD-03-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240701-THE-COOKOUT-MD-03-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240701-THE-COOKOUT-MD-03-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240701-THE-COOKOUT-MD-03-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240701-THE-COOKOUT-MD-03-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240701-THE-COOKOUT-MD-03-KQED-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240701-THE-COOKOUT-MD-03-KQED.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(Clockwise from top left) KKINGBOO, B Dukes, Madre Guía and Lalin St. Juste of 7000COILS at BlaQyard in Oakland on July 1, 2024. BlaQyard is a Black queer housing and land project, and the site of different events, including 2023’s The Cookout event. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Organizers say their first Cookout attracted over 300 people when it launched in 2022. But even with the large crowd, the feeling was familial. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“It was literally like your typical family cookout,” describes \u003c/span>\u003ca href=\"https://www.instagram.com/esora4u/\">\u003cspan style=\"font-weight: 400\">esora\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, a founding member and current co-lead organizer of BLKINMOTION, a collective of Black queer and trans artists and changemakers. “The grill’s poppin’ in the back, and then we had this \u003c/span>\u003ca href=\"https://www.instagram.com/p/CuA6rIHoH-t/\">\u003cspan style=\"font-weight: 400\">blacktop space\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> and we transformed it into what we had dreamed and imagined as kids — space that allows us to feel joy, to play with each other, to laugh with each other, but to also see each other fully.” \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\">The event included spaces to dance, to sit and eat, as well as a dedicated healing and spiritual space set up with at least one altar, soft things to touch and tools for coloring. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“It’s not just about partying. It’s about offering opportunities for different sensory needs to be met,” says \u003c/span>\u003ca href=\"https://www.instagram.com/evinessence/?hl=en\">\u003cspan style=\"font-weight: 400\">Evin Glaude\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, another founding member and co-lead organizer of BLKINMOTION. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">There’s also a group of people dedicated to ensuring the vibe is respectful and consensual, and that attendees adhere to The Cookout’s \u003c/span>\u003ca href=\"https://www.instagram.com/p/CuFyQNly41v/?utm_source=ig_web_copy_link&igsh=MzRlODBiNWFlZA==\">\u003cspan style=\"font-weight: 400\">community guidelines\u003c/span>\u003c/a>,\u003cspan style=\"font-weight: 400\"> which are: Unity, Liberation, Love, Joy, Honor the Land and Security.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13960981\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960981\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240701-THE-COOKOUT-MD-05-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240701-THE-COOKOUT-MD-05-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240701-THE-COOKOUT-MD-05-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240701-THE-COOKOUT-MD-05-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240701-THE-COOKOUT-MD-05-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240701-THE-COOKOUT-MD-05-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240701-THE-COOKOUT-MD-05-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240701-THE-COOKOUT-MD-05-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Evin Glaude (left) and Esora of Black in Motion in Oakland on July 1, 2024. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Now in its third year, this summer’s gathering will be held on Aug. 24. Per The Cookout policy, the venue remains a secret until closer to the event, when it’s revealed only to those who’ve registered. Part of \u003c/span>\u003cspan style=\"font-weight: 400\">a\u003c/span>\u003cspan style=\"font-weight: 400\"> 2023 \u003c/span>\u003ca href=\"https://www.instagram.com/p/CtNIuq5A17n/\">\u003cspan style=\"font-weight: 400\">Instagram post\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> invited “\u003c/span>\u003cspan style=\"font-weight: 400\">our queer non-Black, POC and white fam” to support through donating or gifting an event ticket to a Black queer and/or trans person.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The Cookout organizers have more events on their summer calendar, too. It includes two Field Days featuring a kickball tournament (one held last month on Juneteenth and one coming up on July 14), plus a July 25 mixer featuring a panel discussion with Black queer and trans community organizers. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We want to tap into what is happening in our community and how we can continue to grow,” says \u003c/span>\u003ca href=\"https://www.instagram.com/lalin_music/?hl=en\">\u003cspan style=\"font-weight: 400\">Lalin St. Juste\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, a singer, songwriter and producer who is a co-founder of the 7000COILS collective. “And so that’s why we’re developing these additional events — because there are so many needs that we have. We want to laugh, we want to play, and we also need to cry, and we need to grieve and we need to talk about things.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Things like unpacking lessons from past events and other challenges that can come up when growing a new community experience — which is all being done against the backdrop of a wave of \u003c/span>\u003ca href=\"https://www.them.us/story/300-anti-lgbtq-bills-state-legislatures-aclu\">\u003cspan style=\"font-weight: 400\">anti-LGBTQ+ legislation\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> in the U.S. and ongoing \u003c/span>\u003ca href=\"https://www.nbcnews.com/nbc-out/out-news/least-33-transgender-gender-nonconforming-people-killed-year-report-fi-rcna125783\">\u003cspan style=\"font-weight: 400\">violence against trans people\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, especially Black trans women. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Being a black queer and/or trans person is a revolutionary act, every day you choose to live and be here,” Glaude says. “The Cookout is a plea for that to continue outside of just survival. If some of the most oppressed people are seeking liberation and able to celebrate and heal together, then there’s hope for us all.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">While the organizers’ current focus is on growing their local event offerings mindfully and intentionally, they also hold more expansive, long-term visions for The Cookout. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">If you ask KKINGBOO, that includes “the ultimate family reunion, worldwide” for Black queer and trans people — where pods form the way Burning Man has its camps, and everyone wears reunion T-shirts. “I just want people — especially those [who] have been estranged from family and are creating their own family now — to know that we’re creating that landing spot for you to find your fam.”\u003c/span>\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Cookout Field Day takes place July 14, followed by a panel and mixer on July 25 and The Cookout itself on Aug. 24. Follow \u003ca href=\"https://www.instagram.com/p/C9A2msHSoeu/?img_index=1\">The Cookout on Instagram\u003c/a> for updates and registration information.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Missy Elliott Took the Bay Area ‘Out of This World’ at Oakland Arena",
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"headTitle": "Missy Elliott Took the Bay Area ‘Out of This World’ at Oakland Arena | KQED",
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"content": "\u003cp>Missy “Misdemeanor” Elliott done told us: she is supa fly. Supa dupa fly. So it was no surprise the hip-hop icon soared to stratospheric heights throughout her \u003cem>Out of This World\u003c/em> tour stop in front of a nearly sold-out crowd at Oakland Arena on Tuesday, July 9.\u003c/p>\n\u003cp>In her long-awaited first headlining tour, Missy kept her promise that there would be “no tour like it.” The unique mind that hatched her mold-breaking hit albums and videos across her 30-year career made sure Spaceship757 (the area code of her hometown of Portsmouth, Virginia) landed with all the bells, whistles, hydraulics and pyrotechnics.\u003c/p>\n\u003cp>I appreciate when an artist \u003cem>commits\u003c/em> to a theme for their show. From the simulated spaceship landing on the big screen, enhanced with smoke machines, to \u003cem>Star Wars\u003c/em>-style scrolling messages — Missy went all in.\u003c/p>\n\u003cp>If you’ve ever been to a Cirque du Soleil show, you can tell Missy’s been taking a few notes from the world-renowned circus troupe. Her set starts with a jester-like host informing us of the 75-minute journey we’re about to take. He continues to pop up throughout the night to guide the audience from “planet” to “planet” — or set change to set change.\u003c/p>\n\u003cfigure id=\"attachment_13961102\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Day3OOTWTour-942-2.jpg\" alt=\"\" width=\"1920\" height=\"1281\" class=\"size-full wp-image-13961102\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Day3OOTWTour-942-2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Day3OOTWTour-942-2-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Day3OOTWTour-942-2-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Day3OOTWTour-942-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Day3OOTWTour-942-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Day3OOTWTour-942-2-1536x1025.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Missy Elliott performs at the Oakland Arena on July 8, 2024. \u003ccite>(Alexis Smith/crowdMGMT)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Missy emerged through the spaceship smoke in a sparkly yellow and silver outfit and helmet to open with her 2019 song “Throw It Back” — though it took a minute to register that. The arena’s sound throughout the entire night wasn’t great; certain songs, like that one, at times sounded more blown out than others. But that didn’t dampen the energy one bit, as the crowd went crazy and her 22 dancers flooded the stage.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Audience members got special wristbands at the door, and as the music played we got to see what they were there to do: They lit up in different colors to the beat. At any given moment, there was a sea of purple or green or red-then-orange lights. It was a dope touch. When she hit the verse “Missy in this bitch / doin’ shit you ain’t never seen” during “Cool Off,” I agreed wholeheartedly. \u003c/p>\n\u003cp>[aside postid='arts_13960206']Over the course of the 32-song setlist, the set and costume changes were smooth and seamless. Missy tapped longtime collaborator and celebrity stylist June Ambrose for her costumes, and every look and scene was \u003cem>a moment\u003c/em>. My favorite section was the dark, stormy planet that took us into “Rain (Supa Dupa Fly)” featuring a high fashion riff on Missy’s famous trash bag look. (That section also featured Missy’s fiery track “She’s a Bitch,” which was most recently sampled by Cardi B.)\u003c/p>\n\u003cp>At one point Missy and two dancers took flight on a platform during “Gossip Folks.” Later she’d do a lap around the arena, shaking hands while rapping during her megahit “Work It.”\u003c/p>\n\u003cfigure id=\"attachment_13960872\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960872\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/GettyImages-1463307178.jpg\" alt=\"Missy Elliott performs wearing a graffiti-printed bodysuit and balaclava, surrounded by dancers. \" width=\"1024\" height=\"734\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/GettyImages-1463307178.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/GettyImages-1463307178-800x573.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/GettyImages-1463307178-1020x731.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/GettyImages-1463307178-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/GettyImages-1463307178-768x551.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Missy Elliott performs onstage during the 65th GRAMMY Awards at Crypto.com Arena on February 05, 2023 in Los Angeles, California. \u003ccite>(Michael Kovac/Getty Images for The Recording Academy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>No matter what hit song she was performing or what moving set-piece was lifting and lowering her, one thing was very apparent: Missy was having FUN. Her choreography was dialed in, and you could see and feel the confidence that makes her \u003cem>Missy Elliott\u003c/em>. The show felt triumphant (and deserving of a Las Vegas residency).\u003c/p>\n\u003cp>During a moment with the audience, she said, “I want y’all to know that I don’t take you for granted,” noting that everyone on the tour — Ciara, Busta Rhymes and Timbaland — have been making music for 20 or more years. \u003c/p>\n\u003cp>Earlier in the night, R&B star Ciara delivered a high-octane set with nonstop choreography and efficiently served up hits like “Goodies,” “Ride,” “Body Party” and “1,2 Step.” Towards the end of her set, she took a moment to show special affection for the Bay Area, telling the Oakland crowd “this is the town that helped put me on the map” when she started 20 years ago.\u003c/p>\n\u003cfigure id=\"attachment_13961104\" class=\"wp-caption aligncenter\" style=\"max-width: 1536px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/OutofthisworldTour_PriscillaRodriguez16.jpg\" alt=\"\" width=\"1536\" height=\"1920\" class=\"size-full wp-image-13961104\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/OutofthisworldTour_PriscillaRodriguez16.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/OutofthisworldTour_PriscillaRodriguez16-800x1000.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/OutofthisworldTour_PriscillaRodriguez16-1020x1275.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/OutofthisworldTour_PriscillaRodriguez16-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/OutofthisworldTour_PriscillaRodriguez16-768x960.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/OutofthisworldTour_PriscillaRodriguez16-1229x1536.jpg 1229w\" sizes=\"(max-width: 1536px) 100vw, 1536px\">\u003cfigcaption class=\"wp-caption-text\">Ciara performs at the Oakland Arena on July 8, 2024. \u003ccite>(Priscilla Rodriguez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She was followed by hip-hop legend Busta Rhymes, who managed to be both high energy and underwhelming. Some of that was the poor sound quality, to be fair. Otherwise, there was a lot of chatter and a heavy emphasis on his 2000s hits. Beat-wise, I suppose it fit the outer space theme, but left me wanting him to “Gimme Some More” — literally. But we did get an attempt at a Journey sing-a-long… for the Bay? It fell flat. In other news, his partner-in-rhyme Spliff Star is still one of the best hype men in the game. [aside postid='arts_13959969']\u003c/p>\n\u003cp>To close the show, Missy’s co-stars emerged one by one — Timbaland to perform their classic “Up Jumps the Boogie”; Busta Rhymes to perform his song “Touch It” with her; and lastly Ciara to bring it home with her feature on “Lose Control.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>After they all took a bow, Missy was left alone on stage. A smoky, lit-up platform raised her in the air and — \u003cem>poof\u003c/em>! She was gone. But the feeling of awe, satisfaction and gratitude for the journey to Planet Missy certainly was not.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Missy “Misdemeanor” Elliott done told us: she is supa fly. Supa dupa fly. So it was no surprise the hip-hop icon soared to stratospheric heights throughout her \u003cem>Out of This World\u003c/em> tour stop in front of a nearly sold-out crowd at Oakland Arena on Tuesday, July 9.\u003c/p>\n\u003cp>In her long-awaited first headlining tour, Missy kept her promise that there would be “no tour like it.” The unique mind that hatched her mold-breaking hit albums and videos across her 30-year career made sure Spaceship757 (the area code of her hometown of Portsmouth, Virginia) landed with all the bells, whistles, hydraulics and pyrotechnics.\u003c/p>\n\u003cp>I appreciate when an artist \u003cem>commits\u003c/em> to a theme for their show. From the simulated spaceship landing on the big screen, enhanced with smoke machines, to \u003cem>Star Wars\u003c/em>-style scrolling messages — Missy went all in.\u003c/p>\n\u003cp>If you’ve ever been to a Cirque du Soleil show, you can tell Missy’s been taking a few notes from the world-renowned circus troupe. Her set starts with a jester-like host informing us of the 75-minute journey we’re about to take. He continues to pop up throughout the night to guide the audience from “planet” to “planet” — or set change to set change.\u003c/p>\n\u003cfigure id=\"attachment_13961102\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Day3OOTWTour-942-2.jpg\" alt=\"\" width=\"1920\" height=\"1281\" class=\"size-full wp-image-13961102\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Day3OOTWTour-942-2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Day3OOTWTour-942-2-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Day3OOTWTour-942-2-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Day3OOTWTour-942-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Day3OOTWTour-942-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Day3OOTWTour-942-2-1536x1025.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Missy Elliott performs at the Oakland Arena on July 8, 2024. \u003ccite>(Alexis Smith/crowdMGMT)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Missy emerged through the spaceship smoke in a sparkly yellow and silver outfit and helmet to open with her 2019 song “Throw It Back” — though it took a minute to register that. The arena’s sound throughout the entire night wasn’t great; certain songs, like that one, at times sounded more blown out than others. But that didn’t dampen the energy one bit, as the crowd went crazy and her 22 dancers flooded the stage.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Audience members got special wristbands at the door, and as the music played we got to see what they were there to do: They lit up in different colors to the beat. At any given moment, there was a sea of purple or green or red-then-orange lights. It was a dope touch. When she hit the verse “Missy in this bitch / doin’ shit you ain’t never seen” during “Cool Off,” I agreed wholeheartedly. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Over the course of the 32-song setlist, the set and costume changes were smooth and seamless. Missy tapped longtime collaborator and celebrity stylist June Ambrose for her costumes, and every look and scene was \u003cem>a moment\u003c/em>. My favorite section was the dark, stormy planet that took us into “Rain (Supa Dupa Fly)” featuring a high fashion riff on Missy’s famous trash bag look. (That section also featured Missy’s fiery track “She’s a Bitch,” which was most recently sampled by Cardi B.)\u003c/p>\n\u003cp>At one point Missy and two dancers took flight on a platform during “Gossip Folks.” Later she’d do a lap around the arena, shaking hands while rapping during her megahit “Work It.”\u003c/p>\n\u003cfigure id=\"attachment_13960872\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960872\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/GettyImages-1463307178.jpg\" alt=\"Missy Elliott performs wearing a graffiti-printed bodysuit and balaclava, surrounded by dancers. \" width=\"1024\" height=\"734\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/GettyImages-1463307178.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/GettyImages-1463307178-800x573.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/GettyImages-1463307178-1020x731.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/GettyImages-1463307178-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/GettyImages-1463307178-768x551.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Missy Elliott performs onstage during the 65th GRAMMY Awards at Crypto.com Arena on February 05, 2023 in Los Angeles, California. \u003ccite>(Michael Kovac/Getty Images for The Recording Academy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>No matter what hit song she was performing or what moving set-piece was lifting and lowering her, one thing was very apparent: Missy was having FUN. Her choreography was dialed in, and you could see and feel the confidence that makes her \u003cem>Missy Elliott\u003c/em>. The show felt triumphant (and deserving of a Las Vegas residency).\u003c/p>\n\u003cp>During a moment with the audience, she said, “I want y’all to know that I don’t take you for granted,” noting that everyone on the tour — Ciara, Busta Rhymes and Timbaland — have been making music for 20 or more years. \u003c/p>\n\u003cp>Earlier in the night, R&B star Ciara delivered a high-octane set with nonstop choreography and efficiently served up hits like “Goodies,” “Ride,” “Body Party” and “1,2 Step.” Towards the end of her set, she took a moment to show special affection for the Bay Area, telling the Oakland crowd “this is the town that helped put me on the map” when she started 20 years ago.\u003c/p>\n\u003cfigure id=\"attachment_13961104\" class=\"wp-caption aligncenter\" style=\"max-width: 1536px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/OutofthisworldTour_PriscillaRodriguez16.jpg\" alt=\"\" width=\"1536\" height=\"1920\" class=\"size-full wp-image-13961104\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/OutofthisworldTour_PriscillaRodriguez16.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/OutofthisworldTour_PriscillaRodriguez16-800x1000.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/OutofthisworldTour_PriscillaRodriguez16-1020x1275.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/OutofthisworldTour_PriscillaRodriguez16-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/OutofthisworldTour_PriscillaRodriguez16-768x960.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/OutofthisworldTour_PriscillaRodriguez16-1229x1536.jpg 1229w\" sizes=\"(max-width: 1536px) 100vw, 1536px\">\u003cfigcaption class=\"wp-caption-text\">Ciara performs at the Oakland Arena on July 8, 2024. \u003ccite>(Priscilla Rodriguez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She was followed by hip-hop legend Busta Rhymes, who managed to be both high energy and underwhelming. Some of that was the poor sound quality, to be fair. Otherwise, there was a lot of chatter and a heavy emphasis on his 2000s hits. Beat-wise, I suppose it fit the outer space theme, but left me wanting him to “Gimme Some More” — literally. But we did get an attempt at a Journey sing-a-long… for the Bay? It fell flat. In other news, his partner-in-rhyme Spliff Star is still one of the best hype men in the game. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>To close the show, Missy’s co-stars emerged one by one — Timbaland to perform their classic “Up Jumps the Boogie”; Busta Rhymes to perform his song “Touch It” with her; and lastly Ciara to bring it home with her feature on “Lose Control.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>After they all took a bow, Missy was left alone on stage. A smoky, lit-up platform raised her in the air and — \u003cem>poof\u003c/em>! She was gone. But the feeling of awe, satisfaction and gratitude for the journey to Planet Missy certainly was not.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "jauz-wicked-wise-san-francisco-1015-folsom",
"title": "Jauz Brings His ‘Wicked’ and ‘Wise’ EDM to San Francisco",
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"headTitle": "Jauz Brings His ‘Wicked’ and ‘Wise’ EDM to San Francisco | KQED",
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"content": "\u003cp>\u003cspan style=\"font-weight: 400\">Sam Vogel — an EDM DJ and producer known professionally as \u003c/span>\u003ca href=\"https://www.instagram.com/jauzofficial/?hl=en\">\u003cspan style=\"font-weight: 400\">Jauz\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> — regularly performs at electronic music festivals around the world, including meccas like Belgium’s Tomorrowland and New York’s Electric Zoo. And now he’s set to return to the Bay Area, his home turf, when he brings his current tour to 1015 Folsom in San Francisco.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Vogel, who grew up in Marin, will play two different shows on July 11 and 12. First up is \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Jauz Presents: The Wicked\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, or “Bass Night” featuring his more aggressive, drum and bass sounds, followed by \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Jauz Presents: The Wise\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, or “House Night,” featuring his more melodic, progressive house music.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The tour is inspired by a dystopian narrative he created for his 2018 concept album, \u003c/span>\u003ca href=\"https://www.billboard.com/music/music-news/jauz-the-wise-and-the-wicked-album-breakdown-8473042/\">\u003ci>\u003cspan style=\"font-weight: 400\">The Wise and the Wicked\u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\">. In it, the “Wise” members of society have a more uplifting outlook and want to improve the world, representing the house side of his music, while the “Wicked” are more destructive and anarchic, representing the drum and bass side. He delved deeper into the story with his 2023 albums \u003c/span>\u003ca href=\"https://www.youtube.com/playlist?list=OLAK5uy_n4bwjUiXXf-xL_7cK919M2zbGsoMjporU\">\u003ci>\u003cspan style=\"font-weight: 400\">WRATH OF THE WICKED\u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\"> and \u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=D87Uw6pEjJs&list=OLAK5uy_nclXF9j0y9PakkaRAllXaC2j1QFwdhVgI\">\u003ci>\u003cspan style=\"font-weight: 400\">Rise of the Wise\u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\">.\u003c/span>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=PDACKf0eoYU\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“My motto since day one has always been ‘music has no boundaries,’ which has kind of represented the idea that one artist can have all these different faces, and that should be something that’s celebrated,” explained Vogel, who founded his own record label, \u003ca href=\"https://www.heybitethis.com/\">Bite This\u003c/a>, in 2017. “That’s why I wanted to create these worlds.” \u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Growing up in Marin, Vogel actually favored the heavy metal scene over EDM. He started playing guitar at age 11, inspired by Metallica and other bands coming out of the Bay Area. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I\u003c/span> \u003cspan style=\"font-weight: 400\">used to go just about every Tuesday or Wednesday to the Regency Ballroom [in San Francisco]. That was where all the metal bands that I loved were playing,” Vogel recalled. \u003c/span>\u003c/p>\n\u003cp>https://youtu.be/aC7LPL6Mvrk?si=2xNTjCl_ti_AkDFQ\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">At first, he wanted to become a professional guitarist. “I’d tried starting so many bands that never really came to anything,” Vogel said. “I [also] tried to record myself as a one man band and that didn’t go very well.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Then he had a “light bulb moment” while putting together a short film as part of the \u003c/span>\u003ca href=\"https://www.youtube.com/channel/UCFU-CXRzr5Huj4_bC3USa4Q\">\u003cspan style=\"font-weight: 400\">Academy of Integrated Humanities and New Media (AIM)\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> documentary film program at Tamalpais High School.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I was putting together different pieces of audio — whether it was Foley background music or whatever,” Vogel said. “I looked at one of my friends and said, ‘Man, I wish I could make music like this. Just laying things together, like putting Lego pieces together.’” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">His friend pointed across the room to another student making hip-hop beats on his computer. Vogel realized he didn’t have to play guitar or the drums to make music — his computer could be his instrument.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13960604\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13960604\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Jauz-Outside-Lands-2016-800x567.jpg\" alt=\"A male DJ in a white shirt and backwards baseball cap uses DJ equipment on a stage in front of a sea of people.\" width=\"800\" height=\"567\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Jauz-Outside-Lands-2016-800x567.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Jauz-Outside-Lands-2016-1020x723.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Jauz-Outside-Lands-2016-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Jauz-Outside-Lands-2016-768x544.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Jauz-Outside-Lands-2016-1536x1089.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Jauz-Outside-Lands-2016-2048x1451.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Jauz-Outside-Lands-2016-1920x1361.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jauz spins on the Twin Peaks Stage during the 2016 Outside Lands Music and Arts Festival at Golden Gate Park on August 6, 2016 in San Francisco. \u003ccite>(FilmMagic via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Four albums and many popular remixes and singles later, Vogel has racked up over 600,000 followers on Instagram and fans from all over the world. Still, nothing compares to his hometown crowd. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I’ve talked to so many of my peers and we all feel the same way: the crowds in San Francisco are on a completely different level to just about anywhere else in the country,” Vogel said. “And I don’t know what’s in the water, but they’re really just extra special.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">So when he hits the stage at 1015 Folsom for his two-night run, it’ll be with a lot of pride.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“It’s so cool because I get to be like, ‘Yeah, these are my people.’ Like, how rad is that — that where I came from [has] some of the best fans in the world — not just of me, but of all electronic music.”\u003c/span>\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">‘Jauz Presents: The Wicked’ takes place July 11 at 1015 Folsom in San Francisco, followed by ‘The Wise’ on July 12. \u003c/span>\u003c/i>\u003ca href=\"https://jauzofficial.com/tour#music\">\u003ci>\u003cspan style=\"font-weight: 400\">Tickets and details here\u003c/span>\u003c/i>\u003c/a>\u003ci>\u003cspan style=\"font-weight: 400\">.\u003c/span>\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">Sam Vogel — an EDM DJ and producer known professionally as \u003c/span>\u003ca href=\"https://www.instagram.com/jauzofficial/?hl=en\">\u003cspan style=\"font-weight: 400\">Jauz\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> — regularly performs at electronic music festivals around the world, including meccas like Belgium’s Tomorrowland and New York’s Electric Zoo. And now he’s set to return to the Bay Area, his home turf, when he brings his current tour to 1015 Folsom in San Francisco.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Vogel, who grew up in Marin, will play two different shows on July 11 and 12. First up is \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Jauz Presents: The Wicked\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, or “Bass Night” featuring his more aggressive, drum and bass sounds, followed by \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Jauz Presents: The Wise\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, or “House Night,” featuring his more melodic, progressive house music.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The tour is inspired by a dystopian narrative he created for his 2018 concept album, \u003c/span>\u003ca href=\"https://www.billboard.com/music/music-news/jauz-the-wise-and-the-wicked-album-breakdown-8473042/\">\u003ci>\u003cspan style=\"font-weight: 400\">The Wise and the Wicked\u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\">. In it, the “Wise” members of society have a more uplifting outlook and want to improve the world, representing the house side of his music, while the “Wicked” are more destructive and anarchic, representing the drum and bass side. He delved deeper into the story with his 2023 albums \u003c/span>\u003ca href=\"https://www.youtube.com/playlist?list=OLAK5uy_n4bwjUiXXf-xL_7cK919M2zbGsoMjporU\">\u003ci>\u003cspan style=\"font-weight: 400\">WRATH OF THE WICKED\u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\"> and \u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=D87Uw6pEjJs&list=OLAK5uy_nclXF9j0y9PakkaRAllXaC2j1QFwdhVgI\">\u003ci>\u003cspan style=\"font-weight: 400\">Rise of the Wise\u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\">.\u003c/span>\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/PDACKf0eoYU'\n title='//www.youtube.com/embed/PDACKf0eoYU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">“My motto since day one has always been ‘music has no boundaries,’ which has kind of represented the idea that one artist can have all these different faces, and that should be something that’s celebrated,” explained Vogel, who founded his own record label, \u003ca href=\"https://www.heybitethis.com/\">Bite This\u003c/a>, in 2017. “That’s why I wanted to create these worlds.” \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\">Growing up in Marin, Vogel actually favored the heavy metal scene over EDM. He started playing guitar at age 11, inspired by Metallica and other bands coming out of the Bay Area. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I\u003c/span> \u003cspan style=\"font-weight: 400\">used to go just about every Tuesday or Wednesday to the Regency Ballroom [in San Francisco]. That was where all the metal bands that I loved were playing,” Vogel recalled. \u003c/span>\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/aC7LPL6Mvrk'\n title='//www.youtube.com/embed/aC7LPL6Mvrk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">At first, he wanted to become a professional guitarist. “I’d tried starting so many bands that never really came to anything,” Vogel said. “I [also] tried to record myself as a one man band and that didn’t go very well.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Then he had a “light bulb moment” while putting together a short film as part of the \u003c/span>\u003ca href=\"https://www.youtube.com/channel/UCFU-CXRzr5Huj4_bC3USa4Q\">\u003cspan style=\"font-weight: 400\">Academy of Integrated Humanities and New Media (AIM)\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> documentary film program at Tamalpais High School.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I was putting together different pieces of audio — whether it was Foley background music or whatever,” Vogel said. “I looked at one of my friends and said, ‘Man, I wish I could make music like this. Just laying things together, like putting Lego pieces together.’” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">His friend pointed across the room to another student making hip-hop beats on his computer. Vogel realized he didn’t have to play guitar or the drums to make music — his computer could be his instrument.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13960604\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13960604\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Jauz-Outside-Lands-2016-800x567.jpg\" alt=\"A male DJ in a white shirt and backwards baseball cap uses DJ equipment on a stage in front of a sea of people.\" width=\"800\" height=\"567\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Jauz-Outside-Lands-2016-800x567.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Jauz-Outside-Lands-2016-1020x723.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Jauz-Outside-Lands-2016-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Jauz-Outside-Lands-2016-768x544.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Jauz-Outside-Lands-2016-1536x1089.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Jauz-Outside-Lands-2016-2048x1451.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Jauz-Outside-Lands-2016-1920x1361.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jauz spins on the Twin Peaks Stage during the 2016 Outside Lands Music and Arts Festival at Golden Gate Park on August 6, 2016 in San Francisco. \u003ccite>(FilmMagic via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Four albums and many popular remixes and singles later, Vogel has racked up over 600,000 followers on Instagram and fans from all over the world. Still, nothing compares to his hometown crowd. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I’ve talked to so many of my peers and we all feel the same way: the crowds in San Francisco are on a completely different level to just about anywhere else in the country,” Vogel said. “And I don’t know what’s in the water, but they’re really just extra special.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">So when he hits the stage at 1015 Folsom for his two-night run, it’ll be with a lot of pride.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“It’s so cool because I get to be like, ‘Yeah, these are my people.’ Like, how rad is that — that where I came from [has] some of the best fans in the world — not just of me, but of all electronic music.”\u003c/span>\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">‘Jauz Presents: The Wicked’ takes place July 11 at 1015 Folsom in San Francisco, followed by ‘The Wise’ on July 12. \u003c/span>\u003c/i>\u003ca href=\"https://jauzofficial.com/tour#music\">\u003ci>\u003cspan style=\"font-weight: 400\">Tickets and details here\u003c/span>\u003c/i>\u003c/a>\u003ci>\u003cspan style=\"font-weight: 400\">.\u003c/span>\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The new \u003ca href=\"https://www.oaklandballers.com/landing/index\">Oakland Ballers\u003c/a> minor league baseball season is underway, and among the players suiting up for the B’s is barrier-breaking pitcher \u003ca href=\"https://www.instagram.com/kelsie_whitmore/\">Kelsie Whitmore\u003c/a>.\u003c/p>\n\u003cp>When Whitmore took the mound during the team’s opening series in Montana against the Glacier Range Riders, she became the first woman to play in the Pioneer League — an independent Major League Baseball partner league. While she says her first outing with the B’s didn’t go as well as she wanted, Whitmore, a right-handed pitcher, pulled herself together for the next one.\u003c/p>\n\u003cp>“That’s the name of the game. There’ll be ups and downs, and it’s just like how well you can maintain yourself, with your mindset,” Whitmore says in an interview over Zoom.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Now 25, she’s been playing baseball since she was 6. In 2016, she started her pro career \u003ca href=\"https://www.kqed.org/pop/28980/field-report-two-women-played-professional-baseball-and-the-world-didnt-end\">with the Sonoma Stompers\u003c/a>, and six years later, she became the first woman to \u003ca href=\"https://www.mlb.com/news/kelsie-whitmore-signed-by-staten-island-ferryhawks\">sign with a team\u003c/a> in the prestigious Atlantic League. She also plays for the \u003ca href=\"https://www.usabaseball.com/team/womens\">women’s USA Baseball team\u003c/a>, which will compete for a World Cup in August.\u003c/p>\n\u003cp>“You know when you have something in your heart that just feels right, and you just can’t see yourself not doing? That’s how baseball has felt to me,” says Whitmore, who was born in San Diego.\u003c/p>\n\u003cp>Whitmore was one of three players from open tryouts who signed with the B’s. Ballers manager \u003ca href=\"https://www.instagram.com/micahfranklin56/\">Micah Franklin\u003c/a> says Whitmore’s desire to compete at a professional level stands out to him.\u003c/p>\n\u003cp>“It’s a big step, stepping into this realm,” Franklin says. “You have so many alphas in here, and it is very intimidating, and she is not intimidated at all.”[aside postID=news_11989078 hero='https://cdn.kqed.org/wp-content/uploads/sites/10/2024/06/240604-OAKLAND-BALLERS-AC-05-KQED.jpg']Whitmore says she’s had to train her mind over the years to handle being a woman in baseball, where she faces her fair share of negativity from naysayers.\u003c/p>\n\u003cp>“At first, I let it eat me up — but then I switched it because I was so tired of letting it affect me. I was like, you know what? I’m just going to use it as fuel to my fire,” Whitmore says.\u003c/p>\n\u003cp>Organizations like the Ballers can be more supportive, though. That’s according to \u003ca href=\"https://www.instagram.com/justinesiegal/\">Justine Siegal\u003c/a>, founder of \u003ca href=\"https://baseballforall.com/\">Baseball for All\u003c/a>, a national nonprofit building gender equity in baseball.\u003c/p>\n\u003cp>“I think that minor league baseball is more open to women playing, at least at the independent level,” Siegal says.\u003c/p>\n\u003cp>Siegal, who was the first woman to coach pro baseball as part of the Oakland A’s staff in 2015, says that the battle for opportunities to play starts early. From ages 7 and 8, girls get told they need to switch from baseball to softball to pursue a softball scholarship. Whitmore was funneled into softball when she attended Cal State Fullerton for college.\u003c/p>\n\u003cp>Siegal says that the Ballers being one of the hottest new teams and signing Whitmore sends a great signal.\u003c/p>\n\u003cp>“It shows that they take players who can compete. And that’s what women want,” Siegal says. “They’re not looking for special exceptions, but rather the chance to show what they can do.”\u003c/p>\n\u003cp>While the surge in support for pro women’s sports like soccer, basketball and hockey has yet to hit baseball, Siegal has noticed \u003ca href=\"https://www.mlb.com/news/baseball-options-for-girls-and-women-after-little-league-expanding\">a shift happening\u003c/a>. “When I started Baseball for All, I used to have to explain to people why girls playing baseball matters. And now the conversation has turned more to ‘how can I help?’”\u003c/p>\n\u003cp>Whitmore has noticed the shift in attitudes, too. She says people often attempted to “correct her” more often when she’d say she plays baseball.\u003c/p>\n\u003cp>“They’ll go, ‘you mean softball’ — like, every time,” Whitmore says. “And I’ve noticed over the years, like now when I say it, they’re like, ‘Oh, cool, what position do you play?’”\u003c/p>\n\u003cp>If the next question is, “What are your hopes for your baseball career?” Whitmore has a clear answer.\u003c/p>\n\u003cp>“I’m trying to get to the big leagues,” Whitmore says. “I’m trying to get as far as I can. That’s been the dream.”\u003c/p>\n\u003cp>For a long time, she says she kept that dream private between her and her father after sharing it with someone else who shot it down.\u003c/p>\n\u003cp>“But now it’s like, nah, screw that. Like, I don’t care what people think,” Whitmore says. “Whatever my biggest dreams are, I’m going to do what I want to do. And if they happen, they happen. If they don’t, they don’t. I want to know I did everything I could to make it happen.”\u003c/p>\n\u003cp>In the short term, her goal is to help the B’s get a championship ring this year for the Oakland fans, who she says are more energized than any other fanbase she’s experienced.\u003c/p>\n\u003cp>“I didn’t realize how invested they were out here in Oakland and how much baseball meant to them,” Whitmore says. “I don’t think I’ve ever been so excited for a home opener.”\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The new \u003ca href=\"https://www.oaklandballers.com/landing/index\">Oakland Ballers\u003c/a> minor league baseball season is underway, and among the players suiting up for the B’s is barrier-breaking pitcher \u003ca href=\"https://www.instagram.com/kelsie_whitmore/\">Kelsie Whitmore\u003c/a>.\u003c/p>\n\u003cp>When Whitmore took the mound during the team’s opening series in Montana against the Glacier Range Riders, she became the first woman to play in the Pioneer League — an independent Major League Baseball partner league. While she says her first outing with the B’s didn’t go as well as she wanted, Whitmore, a right-handed pitcher, pulled herself together for the next one.\u003c/p>\n\u003cp>“That’s the name of the game. There’ll be ups and downs, and it’s just like how well you can maintain yourself, with your mindset,” Whitmore says in an interview over Zoom.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Now 25, she’s been playing baseball since she was 6. In 2016, she started her pro career \u003ca href=\"https://www.kqed.org/pop/28980/field-report-two-women-played-professional-baseball-and-the-world-didnt-end\">with the Sonoma Stompers\u003c/a>, and six years later, she became the first woman to \u003ca href=\"https://www.mlb.com/news/kelsie-whitmore-signed-by-staten-island-ferryhawks\">sign with a team\u003c/a> in the prestigious Atlantic League. She also plays for the \u003ca href=\"https://www.usabaseball.com/team/womens\">women’s USA Baseball team\u003c/a>, which will compete for a World Cup in August.\u003c/p>\n\u003cp>“You know when you have something in your heart that just feels right, and you just can’t see yourself not doing? That’s how baseball has felt to me,” says Whitmore, who was born in San Diego.\u003c/p>\n\u003cp>Whitmore was one of three players from open tryouts who signed with the B’s. Ballers manager \u003ca href=\"https://www.instagram.com/micahfranklin56/\">Micah Franklin\u003c/a> says Whitmore’s desire to compete at a professional level stands out to him.\u003c/p>\n\u003cp>“It’s a big step, stepping into this realm,” Franklin says. “You have so many alphas in here, and it is very intimidating, and she is not intimidated at all.”\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Whitmore says she’s had to train her mind over the years to handle being a woman in baseball, where she faces her fair share of negativity from naysayers.\u003c/p>\n\u003cp>“At first, I let it eat me up — but then I switched it because I was so tired of letting it affect me. I was like, you know what? I’m just going to use it as fuel to my fire,” Whitmore says.\u003c/p>\n\u003cp>Organizations like the Ballers can be more supportive, though. That’s according to \u003ca href=\"https://www.instagram.com/justinesiegal/\">Justine Siegal\u003c/a>, founder of \u003ca href=\"https://baseballforall.com/\">Baseball for All\u003c/a>, a national nonprofit building gender equity in baseball.\u003c/p>\n\u003cp>“I think that minor league baseball is more open to women playing, at least at the independent level,” Siegal says.\u003c/p>\n\u003cp>Siegal, who was the first woman to coach pro baseball as part of the Oakland A’s staff in 2015, says that the battle for opportunities to play starts early. From ages 7 and 8, girls get told they need to switch from baseball to softball to pursue a softball scholarship. Whitmore was funneled into softball when she attended Cal State Fullerton for college.\u003c/p>\n\u003cp>Siegal says that the Ballers being one of the hottest new teams and signing Whitmore sends a great signal.\u003c/p>\n\u003cp>“It shows that they take players who can compete. And that’s what women want,” Siegal says. “They’re not looking for special exceptions, but rather the chance to show what they can do.”\u003c/p>\n\u003cp>While the surge in support for pro women’s sports like soccer, basketball and hockey has yet to hit baseball, Siegal has noticed \u003ca href=\"https://www.mlb.com/news/baseball-options-for-girls-and-women-after-little-league-expanding\">a shift happening\u003c/a>. “When I started Baseball for All, I used to have to explain to people why girls playing baseball matters. And now the conversation has turned more to ‘how can I help?’”\u003c/p>\n\u003cp>Whitmore has noticed the shift in attitudes, too. She says people often attempted to “correct her” more often when she’d say she plays baseball.\u003c/p>\n\u003cp>“They’ll go, ‘you mean softball’ — like, every time,” Whitmore says. “And I’ve noticed over the years, like now when I say it, they’re like, ‘Oh, cool, what position do you play?’”\u003c/p>\n\u003cp>If the next question is, “What are your hopes for your baseball career?” Whitmore has a clear answer.\u003c/p>\n\u003cp>“I’m trying to get to the big leagues,” Whitmore says. “I’m trying to get as far as I can. That’s been the dream.”\u003c/p>\n\u003cp>For a long time, she says she kept that dream private between her and her father after sharing it with someone else who shot it down.\u003c/p>\n\u003cp>“But now it’s like, nah, screw that. Like, I don’t care what people think,” Whitmore says. “Whatever my biggest dreams are, I’m going to do what I want to do. And if they happen, they happen. If they don’t, they don’t. I want to know I did everything I could to make it happen.”\u003c/p>\n\u003cp>In the short term, her goal is to help the B’s get a championship ring this year for the Oakland fans, who she says are more energized than any other fanbase she’s experienced.\u003c/p>\n\u003cp>“I didn’t realize how invested they were out here in Oakland and how much baseball meant to them,” Whitmore says. “I don’t think I’ve ever been so excited for a home opener.”\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"title": "Oakland Artist Joshua Mays Welcomes You to the Wondrous City of ‘Olgaruth’",
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"content": "\u003cp>Walking into the Oakland studio of \u003ca href=\"https://www.instagram.com/p/C7Sbj7qvSKd/?hl=en\">Joshua Mays\u003c/a> feels like entering another world. Colorful, fantastical portraits of characters cover almost every inch of the space, hanging from clothes lines or leaning against walls. Two door-length, painted masks are sculpted from cardboard and brown Kraft paper. Life-size green and purple paper vines hang from the ceiling.\u003c/p>\n\u003cp>And Mays is indeed building a new world — specifically, a fictional city filled with technological innovations known for its talented visionaries. It’s called Olgaruth.\u003c/p>\n\u003cp>“The city of Olgaruth is me defining and refining all the ways that I think being alive is cool and awesome and colorful and delicious and truly inspiring,” says Mays, who combined his grandmothers’ names, Olgar and Ruth, to create the city’s moniker.\u003c/p>\n\u003cp>The public is invited to get to know parts of Olgaruth and its main characters at a free pop-up exhibit titled \u003ca href=\"https://www.instagram.com/reel/C7mO3tAxiQo/?\">\u003ci>Portal 002\u003c/i>\u003c/a> at the Oakland nonprofit Beats, Rhymes and Life, starting June 7. It’s the second in a series of traveling, limited-run shows about Olgaruth that Mays has planned for the Bay Area and beyond. (The \u003ca href=\"https://www.instagram.com/reel/C5glZLAvWTO/?\">first installment\u003c/a> popped up at Oakland’s Aman Cafe in April.)\u003c/p>\n\u003cfigure id=\"attachment_13957766\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957766\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240513-CITY-OF-OLGARUTH-MD-02-KQED.jpg\" alt=\"Black man leans over desk with pen in hand, materials behind\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240513-CITY-OF-OLGARUTH-MD-02-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240513-CITY-OF-OLGARUTH-MD-02-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240513-CITY-OF-OLGARUTH-MD-02-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240513-CITY-OF-OLGARUTH-MD-02-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240513-CITY-OF-OLGARUTH-MD-02-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240513-CITY-OF-OLGARUTH-MD-02-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240513-CITY-OF-OLGARUTH-MD-02-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-caption-text\">Joshua Mays draws in his Oakland studio. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>You’ve perhaps seen some of Mays’ art nouveau-style, anime-inspired work when walking around Oakland, where he’s lived for the past 15 years and has painted \u003ca href=\"https://www.instagram.com/p/Bg1rVQTjAo6/?\">a number of public murals\u003c/a>. The most prominent one, called \u003ca href=\"https://www.instagram.com/p/CrjD2hgJgJ5/?hl=en&img_index=1\">\u003ci>Beacon Frequency Reader\u003c/i>\u003c/a>, adorns the side of 1700 Broadway in downtown Oakland and features a character from his growing Olgaruth world. He has also painted murals in Denver (his hometown); Philadelphia; Portland; Washington, D.C.; Johannesburg; London; Mexico City; and Jakarta.\u003c/p>\n\u003cp>Mays was drawn to the Bay Area because of its vibrant artist community and proximity to the tech industry. “The idea of meeting up with other weirdos who are doing things that haven’t been done before was super exciting,” Mays says.\u003c/p>\n\u003cp>He first dove into the idea of Olgaruth during the pandemic, when many of his client-based projects shut down. With his time freed up, he began to explore certain characters and motifs in his work more deeply. Existing paintings beckoned him to take things further and “get really weird with the possibilities,” he says.\u003c/p>\n\u003cp>“I literally looked at one of my pieces where there was a landscape unfolding, and I sat down and drew that section of that painting onto a map and then expanded it,” Mays explains. “There was a river and I just flowed further up the river and then broke that down into a topographical landscape, and then broke it down into 31 districts and named it Olgaruth.”\u003c/p>\n\u003cfigure id=\"attachment_13957769\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957769\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240513-CITY-OF-OLGARUTH-MD-06-KQED.jpg\" alt=\"Two brightly colored map paintings showing regions of a landscape\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240513-CITY-OF-OLGARUTH-MD-06-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240513-CITY-OF-OLGARUTH-MD-06-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240513-CITY-OF-OLGARUTH-MD-06-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240513-CITY-OF-OLGARUTH-MD-06-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240513-CITY-OF-OLGARUTH-MD-06-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240513-CITY-OF-OLGARUTH-MD-06-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240513-CITY-OF-OLGARUTH-MD-06-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-caption-text\">Maps of Olgaruth in Mays’ Oakland studio. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Now entering Olgaruth\u003c/h2>\n\u003cp>Since unlocking the door to Olgaruth in his imagination, Mays has been avidly designing its sci-fi cityscapes, producing its soundscapes and plotting numerous storylines.\u003c/p>\n\u003cp>“I’ve been watching a lot of video game play on YouTube,” Mays says. “And that made me look at my paintings and decide that they are storyboards for video gaming possibilities and for animated streaming.”\u003c/p>\n\u003cp>The first storyline he’s introducing in these early exhibits, including the upcoming \u003ci>Portal 002\u003c/i>, is titled “Savants of the Spore.”\u003c/p>\n\u003cp>In it, an awakened spore imparts all its knowledge to a select population of children — the savants — who “grow up to be brilliantly aware, yet socially limited, visionaries,” Mays says. The spore also guides a team of researchers and engineers to access innovations from the future, which come to define Olgaruth’s economy and culture.\u003c/p>\n\u003cfigure id=\"attachment_13958888\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958888\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_5513-3.jpg\" alt=\"A digital illustration of a sci-fi cityscape.\" width=\"1500\" height=\"1125\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_5513-3.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_5513-3-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_5513-3-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_5513-3-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_5513-3-768x576.jpg 768w\" sizes=\"(max-width: 1500px) 100vw, 1500px\" />\u003cfigcaption class=\"wp-caption-text\">An Olgaruth cityscape. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The three main characters are Montrose Calcot, a bio-engineer and restaurateur with restaurant locations in three districts; Cresta Canon, a professional athlete and competitive video gamer who invented Takal, Olgaruth’s top sport; and Ines Ardley, a recording artist, AI programmer and hacker who went missing while hacking Olgaruth media and communications.\u003c/p>\n\u003cp>They are all Black women, who are recurring subjects in Mays’ work.\u003c/p>\n\u003cfigure id=\"attachment_13959143\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959143\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Montrose-and-Ines.jpg\" alt=\"Colorful digital magazine covers of two Black woman characters\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Montrose-and-Ines.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Montrose-and-Ines-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Montrose-and-Ines-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Montrose-and-Ines-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Montrose-and-Ines-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Montrose-and-Ines-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\" />\u003cfigcaption class=\"wp-caption-text\">‘Savants of the Spore’ characters Montrose Calcot (left) and Ines Ardley (right). \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Olgaruth’s 31 ground-level districts include names like Xanadu, Deephaven, Kalamath and Argonne — all inspired by the names of actual streets from neighborhoods in Denver, Philadelphia and Oakland. An additional seven districts (yet to be revealed) float in the air.\u003c/p>\n\u003cp>For the city’s soundtrack, Mays collaborated with an old high school friend, music producer \u003ca href=\"https://www.instagram.com/playeronebeats\">Troy Tolbert\u003c/a> as the duo Color Codes. In the Olgaruth storyline, they were commissioned by the Olgaruthian Provincial Transit Authority (OPTA) to produce audio tours and music mixes for the transit system.\u003c/p>\n\u003cp>In “ROUGE 168,” you hear the sounds of a bustling urban intersection; a voice announces “you are at Xanadu Station” before various, mostly hip hop-driven beats take over on the way to other stops.\u003c/p>\n\u003cp>https://youtu.be/jfydOF9oMfI?si=L65D5uLN0OpfkUOi\u003c/p>\n\u003ch2>‘I love that I’m facing in this direction’\u003c/h2>\n\u003cp>Building the city of Olgaruth and creating its folklore has been extremely fulfilling for Mays, who says he’s been leaning into his creative flow and trusting his instincts during studio time.\u003c/p>\n\u003cp>“I love tuning in to what comes up next and [thinking about] how I add to the last session’s possibilities,” Mays says. “Like, I have no idea what’s going to happen and that feels great.”\u003c/p>\n\u003cp>In addition to the \u003ci>Portals\u003c/i> exhibits, he plans to eventually pitch Olgaruth to animation studios and video game developers. He also envisions collaborations and brand sponsorships in fashion and music.\u003c/p>\n\u003cfigure id=\"attachment_13957765\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957765\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240513-CITY-OF-OLGARUTH-MD-01-KQED.jpg\" alt=\"Hands over an intricate ink drawing\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240513-CITY-OF-OLGARUTH-MD-01-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240513-CITY-OF-OLGARUTH-MD-01-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240513-CITY-OF-OLGARUTH-MD-01-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240513-CITY-OF-OLGARUTH-MD-01-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240513-CITY-OF-OLGARUTH-MD-01-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240513-CITY-OF-OLGARUTH-MD-01-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240513-CITY-OF-OLGARUTH-MD-01-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-caption-text\">Joshua Mays draws in his Oakland studio. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“This can go in 150 different directions. And this \u003ci>is\u003c/i> going to go in 150 different directions,” Mays says.\u003c/p>\n\u003cp>If his vision sounds grand, that’s the point. Decades into his career, Mays feels like he’s found his magnum opus, and he’s not shying away from his ambitions.\u003c/p>\n\u003cp>“It is the culmination of many [of my] inner children that have just been given permission to be themselves and to realize that there’s tremendous value in that,” he says.\u003c/p>\n\u003cp>Mays, who’s known to sprinkle motivational musings \u003ca href=\"https://www.instagram.com/reel/C7ZKHEWRmre/?utm_source=ig_web_copy_link&igsh=MzRlODBiNWFlZA==\">on his Instagram account\u003c/a> from time to time, also hopes Olgaruth and his \u003ci>Portals\u003c/i> shows will inspire others to feel less afraid to pursue their boldest ideas. He wants everyone to experience the kind of gratitude he’s feeling on this passion-filled, purposeful journey.\u003c/p>\n\u003cfigure id=\"attachment_13957777\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957777\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240513-CITY-OF-OLGARUTH-MD-03-KQED-1.jpg\" alt=\"Black man with glasses sits in a room filled with bright paintings and drawings\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240513-CITY-OF-OLGARUTH-MD-03-KQED-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240513-CITY-OF-OLGARUTH-MD-03-KQED-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240513-CITY-OF-OLGARUTH-MD-03-KQED-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240513-CITY-OF-OLGARUTH-MD-03-KQED-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240513-CITY-OF-OLGARUTH-MD-03-KQED-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240513-CITY-OF-OLGARUTH-MD-03-KQED-1-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240513-CITY-OF-OLGARUTH-MD-03-KQED-1-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-caption-text\">Joshua Mays in his Oakland studio. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“If I get hit by a bus tomorrow, I love that I’m facing in this direction — towards my highest, happiest, most joyful, empowered self.”\u003c/p>\n\u003cp>Where all signs point to Olgaruth.\u003c/p>\n\u003chr />\n\u003cp>\u003ci>‘Portal 002’ is on view June 7–11, 2024 at Beats, Rhymes and Life (450 Santa Clara Ave., Oakland). The opening reception takes place at 6 p.m. on June 7. More information \u003ca href=\"https://www.instagram.com/reel/C7mO3tAxiQo/?\">here\u003c/a>.\u003c/i>\u003c/p>\n",
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"excerpt": "The painter and muralist unveils parts of the fictional city he’s building in a new exhibition in Oakland.",
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"title": "Oakland Artist Joshua Mays Is Building the City of Olgaruth | KQED",
"description": "The painter and muralist unveils parts of the fictional city he’s building in a new exhibition in Oakland.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Walking into the Oakland studio of \u003ca href=\"https://www.instagram.com/p/C7Sbj7qvSKd/?hl=en\">Joshua Mays\u003c/a> feels like entering another world. Colorful, fantastical portraits of characters cover almost every inch of the space, hanging from clothes lines or leaning against walls. Two door-length, painted masks are sculpted from cardboard and brown Kraft paper. Life-size green and purple paper vines hang from the ceiling.\u003c/p>\n\u003cp>And Mays is indeed building a new world — specifically, a fictional city filled with technological innovations known for its talented visionaries. It’s called Olgaruth.\u003c/p>\n\u003cp>“The city of Olgaruth is me defining and refining all the ways that I think being alive is cool and awesome and colorful and delicious and truly inspiring,” says Mays, who combined his grandmothers’ names, Olgar and Ruth, to create the city’s moniker.\u003c/p>\n\u003cp>The public is invited to get to know parts of Olgaruth and its main characters at a free pop-up exhibit titled \u003ca href=\"https://www.instagram.com/reel/C7mO3tAxiQo/?\">\u003ci>Portal 002\u003c/i>\u003c/a> at the Oakland nonprofit Beats, Rhymes and Life, starting June 7. It’s the second in a series of traveling, limited-run shows about Olgaruth that Mays has planned for the Bay Area and beyond. (The \u003ca href=\"https://www.instagram.com/reel/C5glZLAvWTO/?\">first installment\u003c/a> popped up at Oakland’s Aman Cafe in April.)\u003c/p>\n\u003cfigure id=\"attachment_13957766\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957766\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240513-CITY-OF-OLGARUTH-MD-02-KQED.jpg\" alt=\"Black man leans over desk with pen in hand, materials behind\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240513-CITY-OF-OLGARUTH-MD-02-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240513-CITY-OF-OLGARUTH-MD-02-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240513-CITY-OF-OLGARUTH-MD-02-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240513-CITY-OF-OLGARUTH-MD-02-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240513-CITY-OF-OLGARUTH-MD-02-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240513-CITY-OF-OLGARUTH-MD-02-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240513-CITY-OF-OLGARUTH-MD-02-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-caption-text\">Joshua Mays draws in his Oakland studio. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>You’ve perhaps seen some of Mays’ art nouveau-style, anime-inspired work when walking around Oakland, where he’s lived for the past 15 years and has painted \u003ca href=\"https://www.instagram.com/p/Bg1rVQTjAo6/?\">a number of public murals\u003c/a>. The most prominent one, called \u003ca href=\"https://www.instagram.com/p/CrjD2hgJgJ5/?hl=en&img_index=1\">\u003ci>Beacon Frequency Reader\u003c/i>\u003c/a>, adorns the side of 1700 Broadway in downtown Oakland and features a character from his growing Olgaruth world. He has also painted murals in Denver (his hometown); Philadelphia; Portland; Washington, D.C.; Johannesburg; London; Mexico City; and Jakarta.\u003c/p>\n\u003cp>Mays was drawn to the Bay Area because of its vibrant artist community and proximity to the tech industry. “The idea of meeting up with other weirdos who are doing things that haven’t been done before was super exciting,” Mays says.\u003c/p>\n\u003cp>He first dove into the idea of Olgaruth during the pandemic, when many of his client-based projects shut down. With his time freed up, he began to explore certain characters and motifs in his work more deeply. Existing paintings beckoned him to take things further and “get really weird with the possibilities,” he says.\u003c/p>\n\u003cp>“I literally looked at one of my pieces where there was a landscape unfolding, and I sat down and drew that section of that painting onto a map and then expanded it,” Mays explains. “There was a river and I just flowed further up the river and then broke that down into a topographical landscape, and then broke it down into 31 districts and named it Olgaruth.”\u003c/p>\n\u003cfigure id=\"attachment_13957769\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957769\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240513-CITY-OF-OLGARUTH-MD-06-KQED.jpg\" alt=\"Two brightly colored map paintings showing regions of a landscape\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240513-CITY-OF-OLGARUTH-MD-06-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240513-CITY-OF-OLGARUTH-MD-06-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240513-CITY-OF-OLGARUTH-MD-06-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240513-CITY-OF-OLGARUTH-MD-06-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240513-CITY-OF-OLGARUTH-MD-06-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240513-CITY-OF-OLGARUTH-MD-06-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240513-CITY-OF-OLGARUTH-MD-06-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-caption-text\">Maps of Olgaruth in Mays’ Oakland studio. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Now entering Olgaruth\u003c/h2>\n\u003cp>Since unlocking the door to Olgaruth in his imagination, Mays has been avidly designing its sci-fi cityscapes, producing its soundscapes and plotting numerous storylines.\u003c/p>\n\u003cp>“I’ve been watching a lot of video game play on YouTube,” Mays says. “And that made me look at my paintings and decide that they are storyboards for video gaming possibilities and for animated streaming.”\u003c/p>\n\u003cp>The first storyline he’s introducing in these early exhibits, including the upcoming \u003ci>Portal 002\u003c/i>, is titled “Savants of the Spore.”\u003c/p>\n\u003cp>In it, an awakened spore imparts all its knowledge to a select population of children — the savants — who “grow up to be brilliantly aware, yet socially limited, visionaries,” Mays says. The spore also guides a team of researchers and engineers to access innovations from the future, which come to define Olgaruth’s economy and culture.\u003c/p>\n\u003cfigure id=\"attachment_13958888\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958888\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_5513-3.jpg\" alt=\"A digital illustration of a sci-fi cityscape.\" width=\"1500\" height=\"1125\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_5513-3.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_5513-3-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_5513-3-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_5513-3-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_5513-3-768x576.jpg 768w\" sizes=\"(max-width: 1500px) 100vw, 1500px\" />\u003cfigcaption class=\"wp-caption-text\">An Olgaruth cityscape. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The three main characters are Montrose Calcot, a bio-engineer and restaurateur with restaurant locations in three districts; Cresta Canon, a professional athlete and competitive video gamer who invented Takal, Olgaruth’s top sport; and Ines Ardley, a recording artist, AI programmer and hacker who went missing while hacking Olgaruth media and communications.\u003c/p>\n\u003cp>They are all Black women, who are recurring subjects in Mays’ work.\u003c/p>\n\u003cfigure id=\"attachment_13959143\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959143\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Montrose-and-Ines.jpg\" alt=\"Colorful digital magazine covers of two Black woman characters\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Montrose-and-Ines.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Montrose-and-Ines-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Montrose-and-Ines-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Montrose-and-Ines-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Montrose-and-Ines-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Montrose-and-Ines-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\" />\u003cfigcaption class=\"wp-caption-text\">‘Savants of the Spore’ characters Montrose Calcot (left) and Ines Ardley (right). \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Olgaruth’s 31 ground-level districts include names like Xanadu, Deephaven, Kalamath and Argonne — all inspired by the names of actual streets from neighborhoods in Denver, Philadelphia and Oakland. An additional seven districts (yet to be revealed) float in the air.\u003c/p>\n\u003cp>For the city’s soundtrack, Mays collaborated with an old high school friend, music producer \u003ca href=\"https://www.instagram.com/playeronebeats\">Troy Tolbert\u003c/a> as the duo Color Codes. In the Olgaruth storyline, they were commissioned by the Olgaruthian Provincial Transit Authority (OPTA) to produce audio tours and music mixes for the transit system.\u003c/p>\n\u003cp>In “ROUGE 168,” you hear the sounds of a bustling urban intersection; a voice announces “you are at Xanadu Station” before various, mostly hip hop-driven beats take over on the way to other stops.\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/jfydOF9oMfI'\n title='//www.youtube.com/embed/jfydOF9oMfI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>‘I love that I’m facing in this direction’\u003c/h2>\n\u003cp>Building the city of Olgaruth and creating its folklore has been extremely fulfilling for Mays, who says he’s been leaning into his creative flow and trusting his instincts during studio time.\u003c/p>\n\u003cp>“I love tuning in to what comes up next and [thinking about] how I add to the last session’s possibilities,” Mays says. “Like, I have no idea what’s going to happen and that feels great.”\u003c/p>\n\u003cp>In addition to the \u003ci>Portals\u003c/i> exhibits, he plans to eventually pitch Olgaruth to animation studios and video game developers. He also envisions collaborations and brand sponsorships in fashion and music.\u003c/p>\n\u003cfigure id=\"attachment_13957765\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957765\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240513-CITY-OF-OLGARUTH-MD-01-KQED.jpg\" alt=\"Hands over an intricate ink drawing\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240513-CITY-OF-OLGARUTH-MD-01-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240513-CITY-OF-OLGARUTH-MD-01-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240513-CITY-OF-OLGARUTH-MD-01-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240513-CITY-OF-OLGARUTH-MD-01-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240513-CITY-OF-OLGARUTH-MD-01-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240513-CITY-OF-OLGARUTH-MD-01-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240513-CITY-OF-OLGARUTH-MD-01-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-caption-text\">Joshua Mays draws in his Oakland studio. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“This can go in 150 different directions. And this \u003ci>is\u003c/i> going to go in 150 different directions,” Mays says.\u003c/p>\n\u003cp>If his vision sounds grand, that’s the point. Decades into his career, Mays feels like he’s found his magnum opus, and he’s not shying away from his ambitions.\u003c/p>\n\u003cp>“It is the culmination of many [of my] inner children that have just been given permission to be themselves and to realize that there’s tremendous value in that,” he says.\u003c/p>\n\u003cp>Mays, who’s known to sprinkle motivational musings \u003ca href=\"https://www.instagram.com/reel/C7ZKHEWRmre/?utm_source=ig_web_copy_link&igsh=MzRlODBiNWFlZA==\">on his Instagram account\u003c/a> from time to time, also hopes Olgaruth and his \u003ci>Portals\u003c/i> shows will inspire others to feel less afraid to pursue their boldest ideas. He wants everyone to experience the kind of gratitude he’s feeling on this passion-filled, purposeful journey.\u003c/p>\n\u003cfigure id=\"attachment_13957777\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957777\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240513-CITY-OF-OLGARUTH-MD-03-KQED-1.jpg\" alt=\"Black man with glasses sits in a room filled with bright paintings and drawings\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240513-CITY-OF-OLGARUTH-MD-03-KQED-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240513-CITY-OF-OLGARUTH-MD-03-KQED-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240513-CITY-OF-OLGARUTH-MD-03-KQED-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240513-CITY-OF-OLGARUTH-MD-03-KQED-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240513-CITY-OF-OLGARUTH-MD-03-KQED-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240513-CITY-OF-OLGARUTH-MD-03-KQED-1-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240513-CITY-OF-OLGARUTH-MD-03-KQED-1-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-caption-text\">Joshua Mays in his Oakland studio. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“If I get hit by a bus tomorrow, I love that I’m facing in this direction — towards my highest, happiest, most joyful, empowered self.”\u003c/p>\n\u003cp>Where all signs point to Olgaruth.\u003c/p>\n\u003chr />\n\u003cp>\u003ci>‘Portal 002’ is on view June 7–11, 2024 at Beats, Rhymes and Life (450 Santa Clara Ave., Oakland). The opening reception takes place at 6 p.m. on June 7. More information \u003ca href=\"https://www.instagram.com/reel/C7mO3tAxiQo/?\">here\u003c/a>.\u003c/i>\u003c/p>\n\u003c/div>\u003c/p>",
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"slug": "couchdate-oakland-community-events-music",
"title": "Oakland’s 'couchdate' Makes Room for Creatives to Hang and Play",
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"content": "\u003cp>\u003cem>Editor’s Note: In March 2024, couchdate founder Emmanuel Singh was evicted from the downtown warehouse space described in the original story published on KQED Arts in February. At that point, Singh and the partners he’d been working with since July 2023, Afiba Ntama and Akh Graystone, decided to part ways.\u003c/em>\u003c/p>\n\u003cp>\u003cem>Following the eviction, Singh pivoted to a pop-up event model and is currently using a venue in downtown Oakland’s Frank Ogawa Plaza – which he hopes to secure long-term with the help of investors and community fundraising.\u003c/em>\u003c/p>\n\u003cp>\u003cem>The change in venue has meant adapting the events offered. couchdate no longer hosts jam sessions, for example, and Singh says he is focused on it being a “Vintage Brown & Black HiFi Bar + Community Space” where his signature vinyl listening parties are a mainstay.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Original story, Feb. 23, 2024\u003c/strong>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The album \u003c/span>\u003ca href=\"https://www.youtube.com/playlist?list=PLATQ8iWXs4GzRN3wsFdKykJTUTtjNRSju\">\u003ci>\u003cspan style=\"font-weight: 400\">Shea Butter Baby\u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\"> by soul singer Ari Lennox came out in 2019. You can readily stream it wherever you like. Or, on this particular Friday night in January, you can go to a place called \u003c/span>\u003ca href=\"https://www.instagram.com/couchdate/?hl=en\">\u003cspan style=\"font-weight: 400\">couchdate\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> in Downtown Oakland to listen to it in surround sound among friends and fellow music-loving strangers. \u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Here, your shoes are off (a house rule) as you lounge on vintage furniture or sit on one of the many patterned rugs lining the floor. Plants accent corners and shelves. The smell of incense wafts through the air. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“It almost feels like you’re sitting in a friend’s living room,” says Alexis Barnes, a couchdate visitor. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13952478\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13952478 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Vinyl-party-crowd-2-cropped.jpg\" alt=\"A blue-lit room filled with multiple people sitting and talking.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Vinyl-party-crowd-2-cropped.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Vinyl-party-crowd-2-cropped-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Vinyl-party-crowd-2-cropped-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Vinyl-party-crowd-2-cropped-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Vinyl-party-crowd-2-cropped-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Vinyl-party-crowd-2-cropped-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The early crowd at a vinyl listening party of Ari Lennox’s ‘Shea Butter Baby’ album at couchdate in Oakland on Jan. 26. \u003ccite>(Ariana Proehl/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Indeed, a couchdate Vinyl Listening Party has all the cozy wants of home with the fun of being out — stimulating conversation, maybe eye contact with a cute stranger, while the music vibrates through you. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I feel like so much Black and Brown music is just seen as entertainment or candy that’s played in your car or at the gym,” says Emmanuel Singh, couchdate’s founder. “But rarely do we take the time to sit down and engage with this art and really appreciate it and find how we can connect to it — how we can connect to each other with it.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This night with \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Shea Butter Baby\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> is a hotbed of connection. A crowd of about 80 people of diverse races and gender expressions, mostly in their 20s and 30s, occupy almost every inch of the space. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13952892\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13952892 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240222-COUCHDATE-MD-02-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240222-COUCHDATE-MD-02-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240222-COUCHDATE-MD-02-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240222-COUCHDATE-MD-02-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240222-COUCHDATE-MD-02-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240222-COUCHDATE-MD-02-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240222-COUCHDATE-MD-02-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240222-COUCHDATE-MD-02-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Shoes piled by the door at couchdate in Oakland on Feb. 22. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Before the needle drops on the record (“couchdate is an analog space. There’s no digital anything here,” Singh reveals), Singh leads everyone in a welcome ritual, reminding the crowd of the conversation prompt they got when they arrived: “What would you share with someone who isn’t here anymore?” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">After Singh, who grew up in San Jose, shares his own answer — “I would speak to my great-grandmother who helped raise me” — the music begins. The crowd quietly takes in the opening notes of the record. Soon, conversation bubbles up until it fills the room, along with the music. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13952485\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13952485 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Video-gaming1-cropped.jpg\" alt=\"Two people kneel in front of a small TV screen while holding video game controllers.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Video-gaming1-cropped.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Video-gaming1-cropped-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Video-gaming1-cropped-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Video-gaming1-cropped-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Video-gaming1-cropped-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Video-gaming1-cropped-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Alexis Joseph, left, and Estrella Allen play Nintendo 64 at a vinyl listening party at couchdate in Oakland on Jan. 26. \u003ccite>(Ariana Proehl/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Likely, new friendships are forming. “There’s many text threads and friend groups that have started here,” Singh says. “One group of people met here and last year took a trip to Italy together.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The anecdote is noteworthy, especially after the U.S. surgeon general diagnosed the country with a \u003c/span>\u003ca href=\"https://www.npr.org/2023/05/02/1173418268/loneliness-connection-mental-health-dementia-surgeon-generalamerica.html\">\u003cspan style=\"font-weight: 400\">“loneliness epidemic,”\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> prompting more talk about \u003c/span>\u003ca href=\"https://www.today.com/life/inspiration/third-place-meaning-rcna94279\">\u003cspan style=\"font-weight: 400\">the importance of third spaces\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> — where people gather and build community outside their homes and workplaces.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The inclusive, people- and culture-first philosophy of couchdate supports these bonds. (The space got its name from an actual date Singh went on with a former partner to pick up a couch. It became a turning point in them truly connecting.) \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13952479\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13952479 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Friends-at-couchdate-cropped.jpg\" alt=\"Four people pose in front of a sign that reads 'couchdate'\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Friends-at-couchdate-cropped.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Friends-at-couchdate-cropped-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Friends-at-couchdate-cropped-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Friends-at-couchdate-cropped-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Friends-at-couchdate-cropped-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Friends-at-couchdate-cropped-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">From left, friends Akadina Yadegar, Ann Yang, Justin Marquez and Thuymy Do attend couchdate’s Vinyl Listening Party on Jan. 26. \u003ccite>(Ariana Proehl/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">“couchdate highlights relevant voices. I feel like there’s so many in Oakland — so many important people, arts and messages — that don’t get heard,” says Singh.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Singh first began developing couchdate in 2019 at his former art studio in Jack London Square. Since joining forces last summer with fellow creative entrepreneurs Afiba Ntama and Akh Graystone, who co-run couchdate now, the space’s events calendar has expanded. In addition to the vinyl listening parties, which have a $15 cover, there are free, curated game nights on Wednesdays, and on Thursdays they host a jam session ($10 to hang, $5 if you come to jam). \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13952884\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13952884 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240117-COUCHDATE-MD-05_qut.jpg\" alt='Three men stand in front a white wall that has a sign that reads \"couchdate\" on it.' width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240117-COUCHDATE-MD-05_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240117-COUCHDATE-MD-05_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240117-COUCHDATE-MD-05_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240117-COUCHDATE-MD-05_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240117-COUCHDATE-MD-05_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240117-COUCHDATE-MD-05_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">From left, Akh Graystone, Emmanuel Singh and Afiba Ntama of couchdate in Oakland on Jan. 18. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Ntama says couchdate fills a need for more affirming kinds of social experiences that he and others seek: “Less about partying, but [more about] connecting in genuine ways and giving room for people to express their creativity and lower their guard down.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We focus on being an oasis where there’s safety in being here,” Graystone adds.\u003c/span>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/p>\n\u003ch2>We’re jammin’\u003c/h2>\n\u003cp>\u003cspan style=\"font-weight: 400\">Artists regularly rent the venue for public events, like photography shows or fashion pop-ups. One Thursday a month, \u003c/span>\u003ca href=\"https://www.instagram.com/couchdate/p/C3A6N5rpbK6/\">\u003cspan style=\"font-weight: 400\">Fam Sesh\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, a jam that champions queer, femme and non-binary musicians, takes over the space. After Fam Sesh took off, Singh was inspired to get a house band for couchdate and make the jam sessions weekly.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13952897\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13952897 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240222-COUCHDATE-MD-06-KQED-KQED-1.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240222-COUCHDATE-MD-06-KQED-KQED-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240222-COUCHDATE-MD-06-KQED-KQED-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240222-COUCHDATE-MD-06-KQED-KQED-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240222-COUCHDATE-MD-06-KQED-KQED-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240222-COUCHDATE-MD-06-KQED-KQED-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240222-COUCHDATE-MD-06-KQED-KQED-1-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240222-COUCHDATE-MD-06-KQED-KQED-1-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The Ama Trio, led by Amarinder Singh, performs at couchdate in Oakland on Feb. 22. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">For that, he reached out to \u003c/span>\u003ca href=\"https://www.instagram.com/ama.musiq/\">\u003cspan style=\"font-weight: 400\">Amarinder Singh\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, a bass player he’d connected with on Instagram. Amarinder grew up in Berkeley and describes his sound as “psychedelic Punjabi funk.” His sets, backed by a guitarist and a drummer, include original songs mixed with covers of musical greats like Herbie Hancock and Aaliyah.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">After Amarinder’s trio performs, the jam session opens up. Anyone who brought an instrument or wants to get on the mic can take the stage (really, the rug at the front of the room). Singh says anywhere from 30 to 40 musicians will pass through a given session. Amarinder says it’s a rich and rare opportunity for many local musicians, citing the loss of \u003c/span>\u003ca href=\"https://www.kqed.org/coronavirusliveupdates/arts/13880741/oakland-venues-stork-club-spirithaus-shutter-due-to-pandemic\">\u003cspan style=\"font-weight: 400\">Spirithaus Gallery in 2020\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, a place he once frequented.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“[couchdate]’s bringing a resurgence, I’d say, of another communal space to check out and support,” Amarinder says. “We’ve had a lot of really beautiful nights in which so many people came and nobody really knew each other. So there were a lot of new connections, all due to the vibe that was created in this beautiful place.”\u003c/span>\u003c/p>\n\u003ch2>Finding community\u003c/h2>\n\u003cp>\u003cspan style=\"font-weight: 400\">Melika Tabrizi, 28, says couchdate is exactly the kind of creative community she was looking for when she moved to Oakland from Maryland last March. The first night she attended a couchdate jam session, she brought a camera and was filming a bit of the scene. Singh noticed and welcomed her to come again to shoot more. They’re now working on a film project for couchdate. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“It’s been interesting using my art in this space, because I didn’t expect that. It’s just a hobby of mine. And it’s nice that they are seeing my vision,” Tabrizi says. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13952896\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13952896 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240222-COUCHDATE-MD-07-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240222-COUCHDATE-MD-07-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240222-COUCHDATE-MD-07-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240222-COUCHDATE-MD-07-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240222-COUCHDATE-MD-07-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240222-COUCHDATE-MD-07-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240222-COUCHDATE-MD-07-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240222-COUCHDATE-MD-07-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Afi Ayanna (left) and Tiffany Austin talk together at couchdate in Oakland on Feb. 22. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Chris Hall, a lawyer who lives in San Francisco, has been attending events regularly since the fall and comes back for the genuine interactions. “I feel like people present very authentically [at couchdate],” Hall says. “Listening to the music, getting to know the people you’re sitting around. You could go to a jazz club in the city, but you’re probably not going to really talk to anybody other than the people you went with.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Engaging with new people was exactly what Samantha Sherman, a 32-year-old educator, had in mind when she attended a recent game night after learning about couchdate on Instagram. Sherman moved to Oakland from San Francisco last year and is making a point to get out more. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I am very aware that we don’t have any third spaces that are easily accessible and seeking to have \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">us\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, too,” says Sherman, who’s Black. “We kind of make third space in coffee shops and, you know, random places. But this feels like an intentional space to be a third space. So it’s really cool.”\u003c/span>\u003c/p>\n\u003ch2>‘We believe in Oakland’\u003c/h2>\n\u003cp>\u003cspan style=\"font-weight: 400\">As Singh, Ntama and Graystone continue cultivating their warm, inviting oasis in Oakland, there’s no ignoring the city’s reputation is largely in the gutter right now, with \u003c/span>\u003ca href=\"https://www.cnn.com/2024/02/06/business/oakland-crime-business/index.html\">\u003cspan style=\"font-weight: 400\">national headlines\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> calling out the surge in crime that prompted Governor Gavin Newsom \u003ca href=\"https://www.kqed.org/news/11975161/newsom-to-send-state-prosecutors-to-oakland-to-help-crack-down-on-rising-crime\">to send in reinforcements\u003c/a>. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13952891\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13952891 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240222-COUCHDATE-MD-01-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240222-COUCHDATE-MD-01-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240222-COUCHDATE-MD-01-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240222-COUCHDATE-MD-01-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240222-COUCHDATE-MD-01-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240222-COUCHDATE-MD-01-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240222-COUCHDATE-MD-01-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240222-COUCHDATE-MD-01-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">couchdate in Oakland on Feb. 22. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">But that only has the trio doubling down on their commitment. “We believe in Oakland. We believe in the future of Oakland,” Graystone says. He adds that the next phase of couchdate is a project they’ve launched called \u003c/span>\u003ca href=\"https://www.tribin.io/\">\u003cspan style=\"font-weight: 400\">Tribin\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, which\u003c/span> \u003cspan style=\"font-weight: 400\">aims to help local residents deepen their connections with small businesses. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Someone has to say, ‘I’m going to stay here,’” Singh says. He admits making that commitment right now means eating some costs, which the couchdate team is willing to do for their greater, community-building mission. “This is just one example of the types of spaces we can create.”\u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>couchdate is located at 1431 Martin Luther King Jr. Way, Oakland. \u003ca href=\"https://www.instagram.com/couchdate/?hl=en\">Upcoming events can be found on Instagram\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Editor’s Note: In March 2024, couchdate founder Emmanuel Singh was evicted from the downtown warehouse space described in the original story published on KQED Arts in February. At that point, Singh and the partners he’d been working with since July 2023, Afiba Ntama and Akh Graystone, decided to part ways.\u003c/em>\u003c/p>\n\u003cp>\u003cem>Following the eviction, Singh pivoted to a pop-up event model and is currently using a venue in downtown Oakland’s Frank Ogawa Plaza – which he hopes to secure long-term with the help of investors and community fundraising.\u003c/em>\u003c/p>\n\u003cp>\u003cem>The change in venue has meant adapting the events offered. couchdate no longer hosts jam sessions, for example, and Singh says he is focused on it being a “Vintage Brown & Black HiFi Bar + Community Space” where his signature vinyl listening parties are a mainstay.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Original story, Feb. 23, 2024\u003c/strong>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The album \u003c/span>\u003ca href=\"https://www.youtube.com/playlist?list=PLATQ8iWXs4GzRN3wsFdKykJTUTtjNRSju\">\u003ci>\u003cspan style=\"font-weight: 400\">Shea Butter Baby\u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\"> by soul singer Ari Lennox came out in 2019. You can readily stream it wherever you like. Or, on this particular Friday night in January, you can go to a place called \u003c/span>\u003ca href=\"https://www.instagram.com/couchdate/?hl=en\">\u003cspan style=\"font-weight: 400\">couchdate\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> in Downtown Oakland to listen to it in surround sound among friends and fellow music-loving strangers. \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\">Here, your shoes are off (a house rule) as you lounge on vintage furniture or sit on one of the many patterned rugs lining the floor. Plants accent corners and shelves. The smell of incense wafts through the air. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“It almost feels like you’re sitting in a friend’s living room,” says Alexis Barnes, a couchdate visitor. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13952478\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13952478 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Vinyl-party-crowd-2-cropped.jpg\" alt=\"A blue-lit room filled with multiple people sitting and talking.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Vinyl-party-crowd-2-cropped.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Vinyl-party-crowd-2-cropped-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Vinyl-party-crowd-2-cropped-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Vinyl-party-crowd-2-cropped-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Vinyl-party-crowd-2-cropped-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Vinyl-party-crowd-2-cropped-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The early crowd at a vinyl listening party of Ari Lennox’s ‘Shea Butter Baby’ album at couchdate in Oakland on Jan. 26. \u003ccite>(Ariana Proehl/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Indeed, a couchdate Vinyl Listening Party has all the cozy wants of home with the fun of being out — stimulating conversation, maybe eye contact with a cute stranger, while the music vibrates through you. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I feel like so much Black and Brown music is just seen as entertainment or candy that’s played in your car or at the gym,” says Emmanuel Singh, couchdate’s founder. “But rarely do we take the time to sit down and engage with this art and really appreciate it and find how we can connect to it — how we can connect to each other with it.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This night with \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Shea Butter Baby\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> is a hotbed of connection. A crowd of about 80 people of diverse races and gender expressions, mostly in their 20s and 30s, occupy almost every inch of the space. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13952892\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13952892 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240222-COUCHDATE-MD-02-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240222-COUCHDATE-MD-02-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240222-COUCHDATE-MD-02-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240222-COUCHDATE-MD-02-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240222-COUCHDATE-MD-02-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240222-COUCHDATE-MD-02-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240222-COUCHDATE-MD-02-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240222-COUCHDATE-MD-02-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Shoes piled by the door at couchdate in Oakland on Feb. 22. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Before the needle drops on the record (“couchdate is an analog space. There’s no digital anything here,” Singh reveals), Singh leads everyone in a welcome ritual, reminding the crowd of the conversation prompt they got when they arrived: “What would you share with someone who isn’t here anymore?” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">After Singh, who grew up in San Jose, shares his own answer — “I would speak to my great-grandmother who helped raise me” — the music begins. The crowd quietly takes in the opening notes of the record. Soon, conversation bubbles up until it fills the room, along with the music. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13952485\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13952485 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Video-gaming1-cropped.jpg\" alt=\"Two people kneel in front of a small TV screen while holding video game controllers.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Video-gaming1-cropped.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Video-gaming1-cropped-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Video-gaming1-cropped-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Video-gaming1-cropped-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Video-gaming1-cropped-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Video-gaming1-cropped-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Alexis Joseph, left, and Estrella Allen play Nintendo 64 at a vinyl listening party at couchdate in Oakland on Jan. 26. \u003ccite>(Ariana Proehl/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Likely, new friendships are forming. “There’s many text threads and friend groups that have started here,” Singh says. “One group of people met here and last year took a trip to Italy together.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The anecdote is noteworthy, especially after the U.S. surgeon general diagnosed the country with a \u003c/span>\u003ca href=\"https://www.npr.org/2023/05/02/1173418268/loneliness-connection-mental-health-dementia-surgeon-generalamerica.html\">\u003cspan style=\"font-weight: 400\">“loneliness epidemic,”\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> prompting more talk about \u003c/span>\u003ca href=\"https://www.today.com/life/inspiration/third-place-meaning-rcna94279\">\u003cspan style=\"font-weight: 400\">the importance of third spaces\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> — where people gather and build community outside their homes and workplaces.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The inclusive, people- and culture-first philosophy of couchdate supports these bonds. (The space got its name from an actual date Singh went on with a former partner to pick up a couch. It became a turning point in them truly connecting.) \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13952479\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13952479 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Friends-at-couchdate-cropped.jpg\" alt=\"Four people pose in front of a sign that reads 'couchdate'\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Friends-at-couchdate-cropped.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Friends-at-couchdate-cropped-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Friends-at-couchdate-cropped-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Friends-at-couchdate-cropped-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Friends-at-couchdate-cropped-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Friends-at-couchdate-cropped-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">From left, friends Akadina Yadegar, Ann Yang, Justin Marquez and Thuymy Do attend couchdate’s Vinyl Listening Party on Jan. 26. \u003ccite>(Ariana Proehl/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">“couchdate highlights relevant voices. I feel like there’s so many in Oakland — so many important people, arts and messages — that don’t get heard,” says Singh.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Singh first began developing couchdate in 2019 at his former art studio in Jack London Square. Since joining forces last summer with fellow creative entrepreneurs Afiba Ntama and Akh Graystone, who co-run couchdate now, the space’s events calendar has expanded. In addition to the vinyl listening parties, which have a $15 cover, there are free, curated game nights on Wednesdays, and on Thursdays they host a jam session ($10 to hang, $5 if you come to jam). \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13952884\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13952884 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240117-COUCHDATE-MD-05_qut.jpg\" alt='Three men stand in front a white wall that has a sign that reads \"couchdate\" on it.' width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240117-COUCHDATE-MD-05_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240117-COUCHDATE-MD-05_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240117-COUCHDATE-MD-05_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240117-COUCHDATE-MD-05_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240117-COUCHDATE-MD-05_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240117-COUCHDATE-MD-05_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">From left, Akh Graystone, Emmanuel Singh and Afiba Ntama of couchdate in Oakland on Jan. 18. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Ntama says couchdate fills a need for more affirming kinds of social experiences that he and others seek: “Less about partying, but [more about] connecting in genuine ways and giving room for people to express their creativity and lower their guard down.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We focus on being an oasis where there’s safety in being here,” Graystone adds.\u003c/span>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/p>\n\u003ch2>We’re jammin’\u003c/h2>\n\u003cp>\u003cspan style=\"font-weight: 400\">Artists regularly rent the venue for public events, like photography shows or fashion pop-ups. One Thursday a month, \u003c/span>\u003ca href=\"https://www.instagram.com/couchdate/p/C3A6N5rpbK6/\">\u003cspan style=\"font-weight: 400\">Fam Sesh\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, a jam that champions queer, femme and non-binary musicians, takes over the space. After Fam Sesh took off, Singh was inspired to get a house band for couchdate and make the jam sessions weekly.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13952897\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13952897 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240222-COUCHDATE-MD-06-KQED-KQED-1.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240222-COUCHDATE-MD-06-KQED-KQED-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240222-COUCHDATE-MD-06-KQED-KQED-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240222-COUCHDATE-MD-06-KQED-KQED-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240222-COUCHDATE-MD-06-KQED-KQED-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240222-COUCHDATE-MD-06-KQED-KQED-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240222-COUCHDATE-MD-06-KQED-KQED-1-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240222-COUCHDATE-MD-06-KQED-KQED-1-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The Ama Trio, led by Amarinder Singh, performs at couchdate in Oakland on Feb. 22. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">For that, he reached out to \u003c/span>\u003ca href=\"https://www.instagram.com/ama.musiq/\">\u003cspan style=\"font-weight: 400\">Amarinder Singh\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, a bass player he’d connected with on Instagram. Amarinder grew up in Berkeley and describes his sound as “psychedelic Punjabi funk.” His sets, backed by a guitarist and a drummer, include original songs mixed with covers of musical greats like Herbie Hancock and Aaliyah.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">After Amarinder’s trio performs, the jam session opens up. Anyone who brought an instrument or wants to get on the mic can take the stage (really, the rug at the front of the room). Singh says anywhere from 30 to 40 musicians will pass through a given session. Amarinder says it’s a rich and rare opportunity for many local musicians, citing the loss of \u003c/span>\u003ca href=\"https://www.kqed.org/coronavirusliveupdates/arts/13880741/oakland-venues-stork-club-spirithaus-shutter-due-to-pandemic\">\u003cspan style=\"font-weight: 400\">Spirithaus Gallery in 2020\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, a place he once frequented.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“[couchdate]’s bringing a resurgence, I’d say, of another communal space to check out and support,” Amarinder says. “We’ve had a lot of really beautiful nights in which so many people came and nobody really knew each other. So there were a lot of new connections, all due to the vibe that was created in this beautiful place.”\u003c/span>\u003c/p>\n\u003ch2>Finding community\u003c/h2>\n\u003cp>\u003cspan style=\"font-weight: 400\">Melika Tabrizi, 28, says couchdate is exactly the kind of creative community she was looking for when she moved to Oakland from Maryland last March. The first night she attended a couchdate jam session, she brought a camera and was filming a bit of the scene. Singh noticed and welcomed her to come again to shoot more. They’re now working on a film project for couchdate. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“It’s been interesting using my art in this space, because I didn’t expect that. It’s just a hobby of mine. And it’s nice that they are seeing my vision,” Tabrizi says. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13952896\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13952896 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240222-COUCHDATE-MD-07-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240222-COUCHDATE-MD-07-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240222-COUCHDATE-MD-07-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240222-COUCHDATE-MD-07-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240222-COUCHDATE-MD-07-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240222-COUCHDATE-MD-07-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240222-COUCHDATE-MD-07-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240222-COUCHDATE-MD-07-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Afi Ayanna (left) and Tiffany Austin talk together at couchdate in Oakland on Feb. 22. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Chris Hall, a lawyer who lives in San Francisco, has been attending events regularly since the fall and comes back for the genuine interactions. “I feel like people present very authentically [at couchdate],” Hall says. “Listening to the music, getting to know the people you’re sitting around. You could go to a jazz club in the city, but you’re probably not going to really talk to anybody other than the people you went with.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Engaging with new people was exactly what Samantha Sherman, a 32-year-old educator, had in mind when she attended a recent game night after learning about couchdate on Instagram. Sherman moved to Oakland from San Francisco last year and is making a point to get out more. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I am very aware that we don’t have any third spaces that are easily accessible and seeking to have \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">us\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, too,” says Sherman, who’s Black. “We kind of make third space in coffee shops and, you know, random places. But this feels like an intentional space to be a third space. So it’s really cool.”\u003c/span>\u003c/p>\n\u003ch2>‘We believe in Oakland’\u003c/h2>\n\u003cp>\u003cspan style=\"font-weight: 400\">As Singh, Ntama and Graystone continue cultivating their warm, inviting oasis in Oakland, there’s no ignoring the city’s reputation is largely in the gutter right now, with \u003c/span>\u003ca href=\"https://www.cnn.com/2024/02/06/business/oakland-crime-business/index.html\">\u003cspan style=\"font-weight: 400\">national headlines\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> calling out the surge in crime that prompted Governor Gavin Newsom \u003ca href=\"https://www.kqed.org/news/11975161/newsom-to-send-state-prosecutors-to-oakland-to-help-crack-down-on-rising-crime\">to send in reinforcements\u003c/a>. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13952891\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13952891 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240222-COUCHDATE-MD-01-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240222-COUCHDATE-MD-01-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240222-COUCHDATE-MD-01-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240222-COUCHDATE-MD-01-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240222-COUCHDATE-MD-01-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240222-COUCHDATE-MD-01-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240222-COUCHDATE-MD-01-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240222-COUCHDATE-MD-01-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">couchdate in Oakland on Feb. 22. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">But that only has the trio doubling down on their commitment. “We believe in Oakland. We believe in the future of Oakland,” Graystone says. He adds that the next phase of couchdate is a project they’ve launched called \u003c/span>\u003ca href=\"https://www.tribin.io/\">\u003cspan style=\"font-weight: 400\">Tribin\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, which\u003c/span> \u003cspan style=\"font-weight: 400\">aims to help local residents deepen their connections with small businesses. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Someone has to say, ‘I’m going to stay here,’” Singh says. He admits making that commitment right now means eating some costs, which the couchdate team is willing to do for their greater, community-building mission. “This is just one example of the types of spaces we can create.”\u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>couchdate is located at 1431 Martin Luther King Jr. Way, Oakland. \u003ca href=\"https://www.instagram.com/couchdate/?hl=en\">Upcoming events can be found on Instagram\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Mother and Daughter Duet in Multi-Disciplinary ‘flowers and fog’ Show",
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"content": "\u003cp>For most of \u003ca href=\"https://www.melissalewis.art/\">Melissa Lewis Wong\u003c/a>’s adult life, no news was good news in their family – it was normal for Wong and their parents to go several weeks without talking. But when Covid hit, the dance and drag artist felt an urge to connect more frequently, and deeply, with their parents.\u003c/p>\n\u003cp>“The fear of them passing or having complications from Covid was really, really present for me,” Wong says. “It made me realize, especially with my mom, how much I felt that I didn’t know yet – that I hadn’t really asked, that I just wanted more information and connection around.”\u003c/p>\n\u003cp>[aside postID='news_11973503']Wong decided to funnel that fear and desire into a \u003ca href=\"https://vimeo.com/553398262\">short film project\u003c/a> in collaboration with their mother, Joy ChenYu Lewis, who is a singer and performer. They shot it remotely during the pandemic. Now, Wong and Lewis have adapted the project, titled \u003ca href=\"https://www.eventbrite.com/e/flowers-and-fog-show-tickets-874105211217\">\u003ci>flowers and fog\u003c/i>\u003c/a>, for the stage; a two-weekend run opens with a preview on Friday, May 17 at the Gateway Theatre in San Francisco’s Chinatown.\u003c/p>\n\u003cp>The experimental show meditates on the relationship between parent and child – and the ups and downs it can go through – with contemporary dance, classical Chinese song, video projection, drag performance and a communal Mahjong game. Up to 12 people can also opt to attend a pre-performance picnic at Chinatown’s Portsmouth Square that includes Dim Sum, tea and storytelling. A different drag artist, including local favorites like \u003ca href=\"https://www.instagram.com/kinglotusboy/?hl=en\">LOTUS BOY\u003c/a> and \u003ca href=\"https://www.instagram.com/hennessy_williams/\">Hennessy Williams\u003c/a>, will open each show.\u003c/p>\n\u003cfigure id=\"attachment_13957848\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13957848 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Melissa-Lewis-Wong-right-with-their-mother-Joy-ChenYu-Lewis.-Photo-by-RJ-Muna-4-800x523.jpg\" alt=\"\" width=\"800\" height=\"523\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Melissa-Lewis-Wong-right-with-their-mother-Joy-ChenYu-Lewis.-Photo-by-RJ-Muna-4-800x523.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Melissa-Lewis-Wong-right-with-their-mother-Joy-ChenYu-Lewis.-Photo-by-RJ-Muna-4-1020x667.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Melissa-Lewis-Wong-right-with-their-mother-Joy-ChenYu-Lewis.-Photo-by-RJ-Muna-4-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Melissa-Lewis-Wong-right-with-their-mother-Joy-ChenYu-Lewis.-Photo-by-RJ-Muna-4-768x502.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Melissa-Lewis-Wong-right-with-their-mother-Joy-ChenYu-Lewis.-Photo-by-RJ-Muna-4-1536x1004.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Melissa-Lewis-Wong-right-with-their-mother-Joy-ChenYu-Lewis.-Photo-by-RJ-Muna-4-2048x1339.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Melissa-Lewis-Wong-right-with-their-mother-Joy-ChenYu-Lewis.-Photo-by-RJ-Muna-4-1920x1255.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Melissa Lewis Wong, right, and their mother Joy ChenYu Lewis combine Classical Chinese song, dance, drag and more in limited-run “flowers and fog” performances. \u003ccite>(RJ Muna)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I do feel like looking at our own personal lives and histories and relationships with our family or loved ones [is] like a very precious creative truth,” Wong says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Wong recalled learning during this reconnection phase that Lewis, who fled to Inner Mongolia during China’s Cultural Revolution before immigrating to the U.S. in 1980, had written a memoir about her life in Inner Mongolia. “It felt so cinematic to me,” Wong says of the revelation. (Lewis’ memoir will be published in 2025.)\u003c/p>\n\u003cp>[aside postID='arts_13956218']Wong also has their own memories of not feeling understood by their parents or peers, growing up as a queer, mixed Chinese and white kid in small-town Massachusetts. That lent to the distance Wong felt between themselves and their parents for much of their life.\u003c/p>\n\u003cp>While pulling from stories and experiences of their pasts, though, Wong and Lewis are fully embracing the present. The title \u003ci>flowers and fog\u003c/i> is inspired by the poem “Flower No Flower” by ancient Chinese musician and poet Bai JuYi that is about seizing the moment.\u003c/p>\n\u003cp>“The explanation of that poetry is to catch the spirit or the inspiration right away otherwise it disappears,” Lewis says. “And a flower can wilt and the fog will disappear, but when they appear, that’s the time to catch it.”\u003c/p>\n\u003cfigure id=\"attachment_13957849\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13957849\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Melissa-Lewis-Wong-right-with-their-mother-Joy-ChenYu-Lewis.-Photo-by-RJ-Muna-1-800x558.jpg\" alt=\"\" width=\"800\" height=\"558\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Melissa-Lewis-Wong-right-with-their-mother-Joy-ChenYu-Lewis.-Photo-by-RJ-Muna-1-800x558.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Melissa-Lewis-Wong-right-with-their-mother-Joy-ChenYu-Lewis.-Photo-by-RJ-Muna-1-1020x711.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Melissa-Lewis-Wong-right-with-their-mother-Joy-ChenYu-Lewis.-Photo-by-RJ-Muna-1-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Melissa-Lewis-Wong-right-with-their-mother-Joy-ChenYu-Lewis.-Photo-by-RJ-Muna-1-768x536.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Melissa-Lewis-Wong-right-with-their-mother-Joy-ChenYu-Lewis.-Photo-by-RJ-Muna-1-1536x1071.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Melissa-Lewis-Wong-right-with-their-mother-Joy-ChenYu-Lewis.-Photo-by-RJ-Muna-1-2048x1428.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Melissa-Lewis-Wong-right-with-their-mother-Joy-ChenYu-Lewis.-Photo-by-RJ-Muna-1-1920x1339.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Melissa Lewis Wong, right, with their mother Joy ChenYu Lewis. \u003ccite>( RJ Muna)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lewis, who recalled audience members coming up to her in tears after past previews and saying they want to know more about their parents or grandparents after seeing the show, says she hopes more audience members walk away feeling that impulse.\u003c/p>\n\u003cp>“We were a little late to start [our] interest in each other,” Lewis says of herself and her daughter. “But you’re never too late. Catch it and then you will never feel sorry about it.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘flowers and fog’ runs weekends, May 17–26, at the Gateway Theatre in San Francisco. \u003ca href=\"https://www.eventbrite.com/e/flowers-and-fog-show-tickets-874105211217\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Wong decided to funnel that fear and desire into a \u003ca href=\"https://vimeo.com/553398262\">short film project\u003c/a> in collaboration with their mother, Joy ChenYu Lewis, who is a singer and performer. They shot it remotely during the pandemic. Now, Wong and Lewis have adapted the project, titled \u003ca href=\"https://www.eventbrite.com/e/flowers-and-fog-show-tickets-874105211217\">\u003ci>flowers and fog\u003c/i>\u003c/a>, for the stage; a two-weekend run opens with a preview on Friday, May 17 at the Gateway Theatre in San Francisco’s Chinatown.\u003c/p>\n\u003cp>The experimental show meditates on the relationship between parent and child – and the ups and downs it can go through – with contemporary dance, classical Chinese song, video projection, drag performance and a communal Mahjong game. Up to 12 people can also opt to attend a pre-performance picnic at Chinatown’s Portsmouth Square that includes Dim Sum, tea and storytelling. A different drag artist, including local favorites like \u003ca href=\"https://www.instagram.com/kinglotusboy/?hl=en\">LOTUS BOY\u003c/a> and \u003ca href=\"https://www.instagram.com/hennessy_williams/\">Hennessy Williams\u003c/a>, will open each show.\u003c/p>\n\u003cfigure id=\"attachment_13957848\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13957848 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Melissa-Lewis-Wong-right-with-their-mother-Joy-ChenYu-Lewis.-Photo-by-RJ-Muna-4-800x523.jpg\" alt=\"\" width=\"800\" height=\"523\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Melissa-Lewis-Wong-right-with-their-mother-Joy-ChenYu-Lewis.-Photo-by-RJ-Muna-4-800x523.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Melissa-Lewis-Wong-right-with-their-mother-Joy-ChenYu-Lewis.-Photo-by-RJ-Muna-4-1020x667.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Melissa-Lewis-Wong-right-with-their-mother-Joy-ChenYu-Lewis.-Photo-by-RJ-Muna-4-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Melissa-Lewis-Wong-right-with-their-mother-Joy-ChenYu-Lewis.-Photo-by-RJ-Muna-4-768x502.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Melissa-Lewis-Wong-right-with-their-mother-Joy-ChenYu-Lewis.-Photo-by-RJ-Muna-4-1536x1004.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Melissa-Lewis-Wong-right-with-their-mother-Joy-ChenYu-Lewis.-Photo-by-RJ-Muna-4-2048x1339.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Melissa-Lewis-Wong-right-with-their-mother-Joy-ChenYu-Lewis.-Photo-by-RJ-Muna-4-1920x1255.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Melissa Lewis Wong, right, and their mother Joy ChenYu Lewis combine Classical Chinese song, dance, drag and more in limited-run “flowers and fog” performances. \u003ccite>(RJ Muna)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I do feel like looking at our own personal lives and histories and relationships with our family or loved ones [is] like a very precious creative truth,” Wong says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Wong recalled learning during this reconnection phase that Lewis, who fled to Inner Mongolia during China’s Cultural Revolution before immigrating to the U.S. in 1980, had written a memoir about her life in Inner Mongolia. “It felt so cinematic to me,” Wong says of the revelation. (Lewis’ memoir will be published in 2025.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Wong also has their own memories of not feeling understood by their parents or peers, growing up as a queer, mixed Chinese and white kid in small-town Massachusetts. That lent to the distance Wong felt between themselves and their parents for much of their life.\u003c/p>\n\u003cp>While pulling from stories and experiences of their pasts, though, Wong and Lewis are fully embracing the present. The title \u003ci>flowers and fog\u003c/i> is inspired by the poem “Flower No Flower” by ancient Chinese musician and poet Bai JuYi that is about seizing the moment.\u003c/p>\n\u003cp>“The explanation of that poetry is to catch the spirit or the inspiration right away otherwise it disappears,” Lewis says. “And a flower can wilt and the fog will disappear, but when they appear, that’s the time to catch it.”\u003c/p>\n\u003cfigure id=\"attachment_13957849\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13957849\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Melissa-Lewis-Wong-right-with-their-mother-Joy-ChenYu-Lewis.-Photo-by-RJ-Muna-1-800x558.jpg\" alt=\"\" width=\"800\" height=\"558\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Melissa-Lewis-Wong-right-with-their-mother-Joy-ChenYu-Lewis.-Photo-by-RJ-Muna-1-800x558.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Melissa-Lewis-Wong-right-with-their-mother-Joy-ChenYu-Lewis.-Photo-by-RJ-Muna-1-1020x711.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Melissa-Lewis-Wong-right-with-their-mother-Joy-ChenYu-Lewis.-Photo-by-RJ-Muna-1-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Melissa-Lewis-Wong-right-with-their-mother-Joy-ChenYu-Lewis.-Photo-by-RJ-Muna-1-768x536.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Melissa-Lewis-Wong-right-with-their-mother-Joy-ChenYu-Lewis.-Photo-by-RJ-Muna-1-1536x1071.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Melissa-Lewis-Wong-right-with-their-mother-Joy-ChenYu-Lewis.-Photo-by-RJ-Muna-1-2048x1428.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Melissa-Lewis-Wong-right-with-their-mother-Joy-ChenYu-Lewis.-Photo-by-RJ-Muna-1-1920x1339.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Melissa Lewis Wong, right, with their mother Joy ChenYu Lewis. \u003ccite>( RJ Muna)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lewis, who recalled audience members coming up to her in tears after past previews and saying they want to know more about their parents or grandparents after seeing the show, says she hopes more audience members walk away feeling that impulse.\u003c/p>\n\u003cp>“We were a little late to start [our] interest in each other,” Lewis says of herself and her daughter. “But you’re never too late. Catch it and then you will never feel sorry about it.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘flowers and fog’ runs weekends, May 17–26, at the Gateway Theatre in San Francisco. \u003ca href=\"https://www.eventbrite.com/e/flowers-and-fog-show-tickets-874105211217\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In her new book of poems, “woke up no light” Leila Mottley writes: play dead / play docile / play along / stare a beast in its mouth and dare it to bite / this is the only way to know if / the country is still hungry. We talk to Leila Mottley, who was Oakland’s 2018 Youth Poet Laureate, about her poetry, coming of age in the nation’s gaze after the enormous success of her novel, “Nightcrawling,” and her hometown of Oakland.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"title": "Angela Davis and Black Student Leaders Talk Social Justice at Alameda High School Event",
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"content": "\u003cp>Black student leaders and social justice icon Angela Y. Davis took the stage of a mostly full 1,800-seat auditorium at Alameda High School Friday night for a conversation on everything from joy in social movements and hair to reparations and racism. The Black Student Unions at Alameda High School and Castro Valley High School hosted the author and former UC Santa Cruz professor for a free, two-hour event.\u003c/p>\n\u003cp>“I’m so happy to be here,” Davis told the multigenerational crowd. Davis recalled how she used to ride past Alameda High School often when she was part of the \u003ca href=\"https://oaklandyellowjackets.wildapricot.org/\">Oakland Yellow Jackets Bicycle Club\u003c/a>, but it was her first time being inside the building. “Thank you so much for inviting me,” she added.\u003c/p>\n\u003cfigure id=\"attachment_11983593\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11983593\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-09-BL-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-09-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-09-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-09-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-09-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-09-BL-2048x1366.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-09-BL-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A packed theater listens to Angela Davis speak at Alameda High School on April 19, 2024, during an event organized by students from Alameda High School and Castro Valley High School. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Davis was invited to speak after Naomi Melak, a junior at Castro Valley High School and vice president of the school’s BSU, was inspired by seeing Davis’ appearance in the documentary \u003ca href=\"https://www.youtube.com/watch?v=tfCupHW8W44\">\u003cem>13th\u003c/em>\u003c/a>. She thought: “What if the BSU could put on an event with Davis?” Encouraged by her English teacher to pursue the idea seriously, Melak and her classmate, Diego De La Rosa Laday, president of the BSU, started a GoFundMe in November to raise $10,000 for Davis’ speaking fee through an agency.\u003c/p>\n\u003cp>They sent it around to other East Bay high school BSUs, and students at Alameda High School’s BSU joined the effort to organize an event. The fundraising effort moved slowly, though. When the request eventually made its way to Davis in January, her scheduler relayed that she would do the event for free, and they could invest any funds they’d raised so far back into their BSUs.\u003c/p>\n\u003cfigure id=\"attachment_11983579\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11983579\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-13-BL-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-13-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-13-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-13-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-13-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-13-BL-2048x1366.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-13-BL-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Naomi Melak (left) and Diego De La Rosa Laday, both students at Castro Valley High School, ask a question to Angela Davis. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Speaking to KQED prior to the event, student organizers said that they wanted to host Davis to help inspire change in their school communities, where hate speech and racist microaggressions towards Black students are an ongoing issue.\u003c/p>\n\u003cp>“It affects people mentally. It’s a continuous problem and a lack of response from teachers, as well,” said De La Rosa Laday. “We want someone [like Davis] who can inspire the community and who people can look up to, to build that courage to overcome these challenges and make change.”\u003c/p>\n\u003cp>For Naomi Abraham, a senior at Alameda High School and co-president of the BSU there, the event was a way to say that Black students on campus have a voice despite \u003ca href=\"https://www.ktvu.com/news/whites-only-and-blacks-only-tagged-in-alameda-high-restroom-principal-reacts\">the racist incidents they’ve faced\u003c/a>. “I want to leave a legacy at our school and show that it’s a place where Black students are just as much a part of the community as any other student,” Abraham said.\u003c/p>\n\u003cp>When the event got underway, Davis was introduced by Abraham and Melak. The two-part program with intermission saw a panel of four students, including Melak and De La Rosa Laday, take turns asking Davis questions on a range of topics.\u003c/p>\n\u003cfigure id=\"attachment_11983581\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11983581\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-10-BL-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-10-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-10-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-10-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-10-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-10-BL-2048x1366.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-10-BL-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Political activist Angela Davis speaks at Alameda High School. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Among the topics were Davis’ thoughts on her prison abolition activism, reparations, “I can’t think about reparations for Black people without thinking about reparations for Indigenous people” and reparations “should involve the transformation of the entire society”; the relationship between racism and capitalism; and education, “there is no liberation without education.”\u003c/p>\n\u003cp>Students also asked a pre-submitted audience question inquiring about her thoughts on the war in Gaza. “Don’t let anyone tell you that to be for the freedom of people in Palestine is equivalent to anti-Semitism. It is not,” Davis said.\u003c/p>\n\u003cp>The students mixed in some lighter points of conversation, as well — like when Alameda High School senior Heran Girma, who has curly hair, asked about Davis’ hair care routine. After an answer lasting a few minutes (that focused mainly on discussing the social mission behind her product of choice), Davis said, “This is the longest hair conversation I’ve had in public,” to laughter from the crowd.\u003c/p>\n\u003cfigure id=\"attachment_11983583\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11983583\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-18-BL-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-18-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-18-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-18-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-18-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-18-BL-2048x1366.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-18-BL-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jeannette Brantley (center) listens to her granddaughter Bronwyn Brantley ask a question to Angela Davis. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One of the most rousing and poignant parts of the evening came when Alameda High School sophomore Bronwyn Brantley asked Davis about a pivotal moment in her early life that influenced her commitment to fighting for equality. Davis told the story of growing up in Birmingham, Alabama, living on the street that divided the Black neighborhood from the white neighborhood, which Black people were not allowed to cross unless they were going to work.\u003c/p>\n\u003cp>Davis recounted how she and other kids developed a game daring each other to run across the street and sometimes even ringing the doorbell of the house of a Ku Klux Klan leader who lived on the block and running away.\u003c/p>\n\u003cp>[aside tag=\"education\" label=\"More Education Stories\"]“Now our parents did not know we were doing this,” Davis emphasized. “But that was so much fun. That was our favorite game. And it taught me something that I’ve carried with me all of these years: that resistance and engaging in struggle can be fun.” She added that it’s because she finds joy in the struggle — through art and music and play — that she’s still so involved at 80 years old.\u003c/p>\n\u003cfigure id=\"attachment_11983608\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11983608\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-19-BL_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-19-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-19-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-19-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-19-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-19-BL_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Angela Davis speaks with high school students after the event. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At intermission, attendee Sheila SatheWarner, who brought her two sons to the event, commented that she was proud of the BSU students. “It’s super well-run, it’s super-organized, and there’s a lot of folks out here,” she said. SatheWarner is the principal of Lincoln Middle School in Alameda and says they also have a lot of Black students who are organizing. “I’m happy for our future kids coming up from Lincoln. To know they’re coming into this BSU with these leaders is really exciting.”\u003c/p>\n\u003cp>During the second half of the program, the panel sought Davis’ advice for themselves and other young activists who hope to make a difference in society. Davis advised them to focus on building community. “Remember that we accomplish nothing alone,” Davis said.\u003c/p>\n\u003cfigure id=\"attachment_11983600\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11983600\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-03-BL_qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-03-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-03-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-03-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-03-BL_qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-03-BL_qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A t-shirt is for sale at a speaking event with Angela Davis at Alameda High School. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To close, Melak gave a speech about Davis’ impact on her and her fellow students. “Her words have not only resonated deeply but have also sparked a flame within each of us, igniting a passion for change and a commitment to justice,” Melak said.\u003c/p>\n\u003cp>She also acknowledged what the two BSUs achieved with the event. “To think that a group of high schoolers can plan, organize and execute an event this big shows you that virtually anything is possible as long as you stay dedicated,” Melak said to roaring applause — and a big smile from Davis.\u003c/p>\n\u003cfigure id=\"attachment_11983584\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11983584\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-17-BL-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-17-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-17-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-17-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-17-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-17-BL-2048x1366.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-17-BL-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">BJ Victor puts his arm around his son Jaiden, 5 while listening to Angela Davis speak. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "Black student leaders from Castro Valley and Alameda high schools hosted the local activist and icon to learn from her legacy as they seek to combat hate speech on their campuses.",
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"title": "Angela Davis and Black Student Leaders Talk Social Justice at Alameda High School Event | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Black student leaders and social justice icon Angela Y. Davis took the stage of a mostly full 1,800-seat auditorium at Alameda High School Friday night for a conversation on everything from joy in social movements and hair to reparations and racism. The Black Student Unions at Alameda High School and Castro Valley High School hosted the author and former UC Santa Cruz professor for a free, two-hour event.\u003c/p>\n\u003cp>“I’m so happy to be here,” Davis told the multigenerational crowd. Davis recalled how she used to ride past Alameda High School often when she was part of the \u003ca href=\"https://oaklandyellowjackets.wildapricot.org/\">Oakland Yellow Jackets Bicycle Club\u003c/a>, but it was her first time being inside the building. “Thank you so much for inviting me,” she added.\u003c/p>\n\u003cfigure id=\"attachment_11983593\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11983593\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-09-BL-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-09-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-09-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-09-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-09-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-09-BL-2048x1366.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-09-BL-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A packed theater listens to Angela Davis speak at Alameda High School on April 19, 2024, during an event organized by students from Alameda High School and Castro Valley High School. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Davis was invited to speak after Naomi Melak, a junior at Castro Valley High School and vice president of the school’s BSU, was inspired by seeing Davis’ appearance in the documentary \u003ca href=\"https://www.youtube.com/watch?v=tfCupHW8W44\">\u003cem>13th\u003c/em>\u003c/a>. She thought: “What if the BSU could put on an event with Davis?” Encouraged by her English teacher to pursue the idea seriously, Melak and her classmate, Diego De La Rosa Laday, president of the BSU, started a GoFundMe in November to raise $10,000 for Davis’ speaking fee through an agency.\u003c/p>\n\u003cp>They sent it around to other East Bay high school BSUs, and students at Alameda High School’s BSU joined the effort to organize an event. The fundraising effort moved slowly, though. When the request eventually made its way to Davis in January, her scheduler relayed that she would do the event for free, and they could invest any funds they’d raised so far back into their BSUs.\u003c/p>\n\u003cfigure id=\"attachment_11983579\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11983579\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-13-BL-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-13-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-13-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-13-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-13-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-13-BL-2048x1366.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-13-BL-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Naomi Melak (left) and Diego De La Rosa Laday, both students at Castro Valley High School, ask a question to Angela Davis. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Speaking to KQED prior to the event, student organizers said that they wanted to host Davis to help inspire change in their school communities, where hate speech and racist microaggressions towards Black students are an ongoing issue.\u003c/p>\n\u003cp>“It affects people mentally. It’s a continuous problem and a lack of response from teachers, as well,” said De La Rosa Laday. “We want someone [like Davis] who can inspire the community and who people can look up to, to build that courage to overcome these challenges and make change.”\u003c/p>\n\u003cp>For Naomi Abraham, a senior at Alameda High School and co-president of the BSU there, the event was a way to say that Black students on campus have a voice despite \u003ca href=\"https://www.ktvu.com/news/whites-only-and-blacks-only-tagged-in-alameda-high-restroom-principal-reacts\">the racist incidents they’ve faced\u003c/a>. “I want to leave a legacy at our school and show that it’s a place where Black students are just as much a part of the community as any other student,” Abraham said.\u003c/p>\n\u003cp>When the event got underway, Davis was introduced by Abraham and Melak. The two-part program with intermission saw a panel of four students, including Melak and De La Rosa Laday, take turns asking Davis questions on a range of topics.\u003c/p>\n\u003cfigure id=\"attachment_11983581\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11983581\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-10-BL-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-10-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-10-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-10-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-10-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-10-BL-2048x1366.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-10-BL-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Political activist Angela Davis speaks at Alameda High School. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Among the topics were Davis’ thoughts on her prison abolition activism, reparations, “I can’t think about reparations for Black people without thinking about reparations for Indigenous people” and reparations “should involve the transformation of the entire society”; the relationship between racism and capitalism; and education, “there is no liberation without education.”\u003c/p>\n\u003cp>Students also asked a pre-submitted audience question inquiring about her thoughts on the war in Gaza. “Don’t let anyone tell you that to be for the freedom of people in Palestine is equivalent to anti-Semitism. It is not,” Davis said.\u003c/p>\n\u003cp>The students mixed in some lighter points of conversation, as well — like when Alameda High School senior Heran Girma, who has curly hair, asked about Davis’ hair care routine. After an answer lasting a few minutes (that focused mainly on discussing the social mission behind her product of choice), Davis said, “This is the longest hair conversation I’ve had in public,” to laughter from the crowd.\u003c/p>\n\u003cfigure id=\"attachment_11983583\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11983583\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-18-BL-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-18-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-18-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-18-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-18-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-18-BL-2048x1366.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-18-BL-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jeannette Brantley (center) listens to her granddaughter Bronwyn Brantley ask a question to Angela Davis. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One of the most rousing and poignant parts of the evening came when Alameda High School sophomore Bronwyn Brantley asked Davis about a pivotal moment in her early life that influenced her commitment to fighting for equality. Davis told the story of growing up in Birmingham, Alabama, living on the street that divided the Black neighborhood from the white neighborhood, which Black people were not allowed to cross unless they were going to work.\u003c/p>\n\u003cp>Davis recounted how she and other kids developed a game daring each other to run across the street and sometimes even ringing the doorbell of the house of a Ku Klux Klan leader who lived on the block and running away.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“Now our parents did not know we were doing this,” Davis emphasized. “But that was so much fun. That was our favorite game. And it taught me something that I’ve carried with me all of these years: that resistance and engaging in struggle can be fun.” She added that it’s because she finds joy in the struggle — through art and music and play — that she’s still so involved at 80 years old.\u003c/p>\n\u003cfigure id=\"attachment_11983608\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11983608\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-19-BL_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-19-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-19-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-19-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-19-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-19-BL_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Angela Davis speaks with high school students after the event. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At intermission, attendee Sheila SatheWarner, who brought her two sons to the event, commented that she was proud of the BSU students. “It’s super well-run, it’s super-organized, and there’s a lot of folks out here,” she said. SatheWarner is the principal of Lincoln Middle School in Alameda and says they also have a lot of Black students who are organizing. “I’m happy for our future kids coming up from Lincoln. To know they’re coming into this BSU with these leaders is really exciting.”\u003c/p>\n\u003cp>During the second half of the program, the panel sought Davis’ advice for themselves and other young activists who hope to make a difference in society. Davis advised them to focus on building community. “Remember that we accomplish nothing alone,” Davis said.\u003c/p>\n\u003cfigure id=\"attachment_11983600\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11983600\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-03-BL_qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-03-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-03-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-03-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-03-BL_qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-03-BL_qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A t-shirt is for sale at a speaking event with Angela Davis at Alameda High School. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To close, Melak gave a speech about Davis’ impact on her and her fellow students. “Her words have not only resonated deeply but have also sparked a flame within each of us, igniting a passion for change and a commitment to justice,” Melak said.\u003c/p>\n\u003cp>She also acknowledged what the two BSUs achieved with the event. “To think that a group of high schoolers can plan, organize and execute an event this big shows you that virtually anything is possible as long as you stay dedicated,” Melak said to roaring applause — and a big smile from Davis.\u003c/p>\n\u003cfigure id=\"attachment_11983584\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11983584\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-17-BL-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-17-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-17-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-17-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-17-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-17-BL-2048x1366.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/04/240419-AngelaDavisAlamedaHS-17-BL-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">BJ Victor puts his arm around his son Jaiden, 5 while listening to Angela Davis speak. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "BAMPFA’s Great Migration Show Brings Nuance to a History Shared by Millions",
"headTitle": "BAMPFA’s Great Migration Show Brings Nuance to a History Shared by Millions | KQED",
"content": "\u003cp>My mother was six years old when her family migrated west from Tallahassee, Florida in 1954. She was one of approximately six million Black people who moved out of the American South to Western, Northern and Midwestern states in the era known as \u003ca href=\"https://www.archives.gov/research/african-americans/migrations/great-migration\">the Great Migration\u003c/a>. My grandfather, a physician who had limited opportunities in the Jim Crow South, moved the family to Porterville, California in the Central Valley. They lived in Palo Alto for five or so years before ultimately settling in Southern California.\u003c/p>\n\u003cp>Those facts of my family’s migration story were front of mind as I walked through the new exhibition \u003ca href=\"https://bampfa.org/program/movement-every-direction-legacies-great-migration\">\u003ci>A Movement in Every Direction: Legacies of the Great Migration\u003c/i>\u003c/a>, on view at the Berkeley Art Museum and Pacific Film Archive through Sept. 22, 2024.\u003c/p>\n\u003cp>Translating this epic American story of the Great Migration, which has so many facets and truths (and warranted \u003ca href=\"http://warmth.isabelwilkerson.com/\">622 pages from scholar Isabel Wilkerson\u003c/a>), into a walkable, visual experience is a feat. \u003ci>A Movement in Every Direction\u003c/i>, which was co-organized by the Mississippi Museum of Art and the Baltimore Museum of Art and features 12 artists, beautifully showcases how this is a shared history for millions, with very intricate, individual stories.\u003c/p>\n\u003cfigure id=\"attachment_13955970\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13955970 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/A-Song-for-Travelers-final-800x288.jpg\" alt=\"Charcoal drawing depicting various Black people.\" width=\"800\" height=\"288\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/A-Song-for-Travelers-final-800x288.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/A-Song-for-Travelers-final-1020x367.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/A-Song-for-Travelers-final-160x58.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/A-Song-for-Travelers-final-768x276.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/A-Song-for-Travelers-final-1536x552.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/A-Song-for-Travelers-final-2048x736.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/A-Song-for-Travelers-final-1920x690.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Robert Pruitt, ‘A Song for Travelers,’ 2022; Charcoal, conté, and pastel on paper, mounted onto four aluminum panels. \u003ccite>(Courtesy of Adam Reich)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Robert Pruitt’s large-scale charcoal drawing \u003ci>A Song for Travelers\u003c/i> (2022) feels emblematic of that intricacy — both in the craft of the piece and the story it tells. Pruitt draws inspiration from his personal archive (a family reunion photo from the 1970s) and the historical archive of his hometown Houston to depict a community of past and present-day figures offering gifts to a traveler.\u003c/p>\n\u003cp>The longer you look at this piece, the more detail is revealed. Noticing each gift elicits the bright-eyed feel of answering the question “Where’s Waldo?” It’s a feast for the eyes and the spirit, as one can imagine sitting in the traveler’s seat, receiving the support of the ancestors and community members.\u003c/p>\n\u003cfigure id=\"attachment_13955972\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13955972 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2022_Great_Migration_207_o3-800x534.jpg\" alt=\"Two woven textiles hang on a white wall\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2022_Great_Migration_207_o3-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2022_Great_Migration_207_o3-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2022_Great_Migration_207_o3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2022_Great_Migration_207_o3-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2022_Great_Migration_207_o3-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2022_Great_Migration_207_o3-2048x1367.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2022_Great_Migration_207_o3-1920x1281.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Akea Brionne, ‘School Children’ (left) and ‘Porch Sittin’ (right) from the series ‘An Ode To (You)’all,’ 2022; Jacquard tapestry, poly-fil, rhinestones. \u003ccite>(Courtesy the artist; Photo by Mitro Hood, courtesy of the Mississippi Museum of Art and Baltimore Museum of Art)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The intricacy of stories is also evident in the detailed stitching of Akea Brionne’s tapestries for her installation \u003ci>An Ode to (You)’all\u003c/i> (2022), which reflects on Black maternal family structures through the lives of her great-grandmother and great-aunts. The textiles are eye-catching. By transforming old family photographs into jacquard weavings, which she bedazzles with sparkly embellishments, Akea Brionne honors the women who helped her family move north from Mississippi.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Some artists, like Torkwase Dyson, take a more abstract approach to the topic. Dyson, who researched plantation economies and Black liberation theory for her piece \u003ci>Way Over There Inside Me (A Festival of Inches)\u003c/i> (2022), says the abstract sculpture reflects how Black people “bend space to have life” throughout history. Dyson’s trapezoidal shapes, made of smoky glass, steel and aluminum, indeed invoke a number of musings about space, place and time; I was reminded of sci-fi-like portals to other locations or dimensions.\u003c/p>\n\u003cfigure id=\"attachment_13955974\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13955974\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DysonT_Install_04-800x446.jpg\" alt=\"Trapezoidal figures connected by bent metal bars displayed in the corner of a musuem.\" width=\"800\" height=\"446\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DysonT_Install_04-800x446.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DysonT_Install_04-1020x568.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DysonT_Install_04-160x89.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DysonT_Install_04-768x428.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DysonT_Install_04-1536x855.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DysonT_Install_04-2048x1140.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DysonT_Install_04-1920x1069.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Torkwase Dyson, ‘Way Over There Inside Me (A Festival of Inches),’ 2022; Painted steel, glass, painted aluminum, dry-erase marker. \u003ccite>(Courtesy the artist and Pace Gallery; Photo by Mitro Hood, courtesy of the Mississippi Museum of Art and Baltimore Museum of Art)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The exhibition is anchored by some big names (that were, admittedly, the first to catch my eye when the exhibition was announced). Carrie Mae Weems, Theaster Gates and Mark Bradford all contribute powerful new works. I never miss an opportunity to see Bradford’s work and his mural-sized installation – which duplicates a 1913 “WANTED” ad inviting Black families to join a Jim Crow-free settlement in New Mexico – doesn’t disappoint.\u003c/p>\n\u003cp>Weems’s video installation, titled \u003ci>Leave! Leave Now!\u003c/i> (2022), is simultaneously haunting and gorgeous. In it, Weems narrates what she knows of her grandfather’s journey to Chicago after he was presumed dead following an attack by a white mob in 1936. She also asks questions about the things she doesn’t know: “What was those early years like for you? When did you become a union organizer?”\u003c/p>\n\u003cfigure id=\"attachment_13955971\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13955971\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2022_TGM_MMA_321_o3-800x534.jpg\" alt=\"A black and white digital image floats in front of a slightly open red curtain\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2022_TGM_MMA_321_o3-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2022_TGM_MMA_321_o3-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2022_TGM_MMA_321_o3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2022_TGM_MMA_321_o3-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2022_TGM_MMA_321_o3-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2022_TGM_MMA_321_o3-2048x1367.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2022_TGM_MMA_321_o3-1920x1281.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Carrie Mae Weems, ‘Leave! Leave Now!,’ 2022; Single-channel digital video (color, sound) installation with mixed media, 25 min. \u003ccite>(Courtesy the artist and Jack Shainman Gallery, New York; Photo by Mitro Hood, courtesy of the Mississippi Museum of Art and Baltimore Museum of Art)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Leaving the exhibition, I too felt moved to ask more questions about my family’s migration story. I called my mother, realizing I’d never heard the specific reason they landed in Porterville first. “My father got a resident physician job at Porterville State Hospital [now Porterville Developmental Center] and the job came with a house,” she told me.\u003c/p>\n\u003cp>I won’t be surprised if other Black Californians are prompted to reflect on how and when their family members first arrived in the state after experiencing \u003ci>A Movement in Every Direction\u003c/i>. In fact, they’re invited to, via an interactive component where visitors can record memories about their family’s migration story to join a growing archive. (The program notes that more than 300,000 Black people arrived in the Bay Area during the Great Migration.)\u003c/p>\n\u003cp>For everyone who visits, the show and archive are a reminder of how strong the Black American spirit is — and how it continuously strives, in both life and in art.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘A Movement in Every Direction: Legacies of the Great Migration’ is on view through Sept. 22, 2024 at the Berkeley Art Museum and Pacific Film Archive (2155 Center St.). \u003ca href=\"https://bampfa.org/program/movement-every-direction-legacies-great-migration\">Find more details and information here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>My mother was six years old when her family migrated west from Tallahassee, Florida in 1954. She was one of approximately six million Black people who moved out of the American South to Western, Northern and Midwestern states in the era known as \u003ca href=\"https://www.archives.gov/research/african-americans/migrations/great-migration\">the Great Migration\u003c/a>. My grandfather, a physician who had limited opportunities in the Jim Crow South, moved the family to Porterville, California in the Central Valley. They lived in Palo Alto for five or so years before ultimately settling in Southern California.\u003c/p>\n\u003cp>Those facts of my family’s migration story were front of mind as I walked through the new exhibition \u003ca href=\"https://bampfa.org/program/movement-every-direction-legacies-great-migration\">\u003ci>A Movement in Every Direction: Legacies of the Great Migration\u003c/i>\u003c/a>, on view at the Berkeley Art Museum and Pacific Film Archive through Sept. 22, 2024.\u003c/p>\n\u003cp>Translating this epic American story of the Great Migration, which has so many facets and truths (and warranted \u003ca href=\"http://warmth.isabelwilkerson.com/\">622 pages from scholar Isabel Wilkerson\u003c/a>), into a walkable, visual experience is a feat. \u003ci>A Movement in Every Direction\u003c/i>, which was co-organized by the Mississippi Museum of Art and the Baltimore Museum of Art and features 12 artists, beautifully showcases how this is a shared history for millions, with very intricate, individual stories.\u003c/p>\n\u003cfigure id=\"attachment_13955970\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13955970 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/A-Song-for-Travelers-final-800x288.jpg\" alt=\"Charcoal drawing depicting various Black people.\" width=\"800\" height=\"288\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/A-Song-for-Travelers-final-800x288.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/A-Song-for-Travelers-final-1020x367.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/A-Song-for-Travelers-final-160x58.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/A-Song-for-Travelers-final-768x276.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/A-Song-for-Travelers-final-1536x552.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/A-Song-for-Travelers-final-2048x736.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/A-Song-for-Travelers-final-1920x690.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Robert Pruitt, ‘A Song for Travelers,’ 2022; Charcoal, conté, and pastel on paper, mounted onto four aluminum panels. \u003ccite>(Courtesy of Adam Reich)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Robert Pruitt’s large-scale charcoal drawing \u003ci>A Song for Travelers\u003c/i> (2022) feels emblematic of that intricacy — both in the craft of the piece and the story it tells. Pruitt draws inspiration from his personal archive (a family reunion photo from the 1970s) and the historical archive of his hometown Houston to depict a community of past and present-day figures offering gifts to a traveler.\u003c/p>\n\u003cp>The longer you look at this piece, the more detail is revealed. Noticing each gift elicits the bright-eyed feel of answering the question “Where’s Waldo?” It’s a feast for the eyes and the spirit, as one can imagine sitting in the traveler’s seat, receiving the support of the ancestors and community members.\u003c/p>\n\u003cfigure id=\"attachment_13955972\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13955972 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2022_Great_Migration_207_o3-800x534.jpg\" alt=\"Two woven textiles hang on a white wall\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2022_Great_Migration_207_o3-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2022_Great_Migration_207_o3-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2022_Great_Migration_207_o3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2022_Great_Migration_207_o3-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2022_Great_Migration_207_o3-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2022_Great_Migration_207_o3-2048x1367.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2022_Great_Migration_207_o3-1920x1281.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Akea Brionne, ‘School Children’ (left) and ‘Porch Sittin’ (right) from the series ‘An Ode To (You)’all,’ 2022; Jacquard tapestry, poly-fil, rhinestones. \u003ccite>(Courtesy the artist; Photo by Mitro Hood, courtesy of the Mississippi Museum of Art and Baltimore Museum of Art)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The intricacy of stories is also evident in the detailed stitching of Akea Brionne’s tapestries for her installation \u003ci>An Ode to (You)’all\u003c/i> (2022), which reflects on Black maternal family structures through the lives of her great-grandmother and great-aunts. The textiles are eye-catching. By transforming old family photographs into jacquard weavings, which she bedazzles with sparkly embellishments, Akea Brionne honors the women who helped her family move north from Mississippi.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Some artists, like Torkwase Dyson, take a more abstract approach to the topic. Dyson, who researched plantation economies and Black liberation theory for her piece \u003ci>Way Over There Inside Me (A Festival of Inches)\u003c/i> (2022), says the abstract sculpture reflects how Black people “bend space to have life” throughout history. Dyson’s trapezoidal shapes, made of smoky glass, steel and aluminum, indeed invoke a number of musings about space, place and time; I was reminded of sci-fi-like portals to other locations or dimensions.\u003c/p>\n\u003cfigure id=\"attachment_13955974\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13955974\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DysonT_Install_04-800x446.jpg\" alt=\"Trapezoidal figures connected by bent metal bars displayed in the corner of a musuem.\" width=\"800\" height=\"446\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DysonT_Install_04-800x446.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DysonT_Install_04-1020x568.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DysonT_Install_04-160x89.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DysonT_Install_04-768x428.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DysonT_Install_04-1536x855.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DysonT_Install_04-2048x1140.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DysonT_Install_04-1920x1069.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Torkwase Dyson, ‘Way Over There Inside Me (A Festival of Inches),’ 2022; Painted steel, glass, painted aluminum, dry-erase marker. \u003ccite>(Courtesy the artist and Pace Gallery; Photo by Mitro Hood, courtesy of the Mississippi Museum of Art and Baltimore Museum of Art)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The exhibition is anchored by some big names (that were, admittedly, the first to catch my eye when the exhibition was announced). Carrie Mae Weems, Theaster Gates and Mark Bradford all contribute powerful new works. I never miss an opportunity to see Bradford’s work and his mural-sized installation – which duplicates a 1913 “WANTED” ad inviting Black families to join a Jim Crow-free settlement in New Mexico – doesn’t disappoint.\u003c/p>\n\u003cp>Weems’s video installation, titled \u003ci>Leave! Leave Now!\u003c/i> (2022), is simultaneously haunting and gorgeous. In it, Weems narrates what she knows of her grandfather’s journey to Chicago after he was presumed dead following an attack by a white mob in 1936. She also asks questions about the things she doesn’t know: “What was those early years like for you? When did you become a union organizer?”\u003c/p>\n\u003cfigure id=\"attachment_13955971\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13955971\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2022_TGM_MMA_321_o3-800x534.jpg\" alt=\"A black and white digital image floats in front of a slightly open red curtain\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2022_TGM_MMA_321_o3-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2022_TGM_MMA_321_o3-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2022_TGM_MMA_321_o3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2022_TGM_MMA_321_o3-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2022_TGM_MMA_321_o3-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2022_TGM_MMA_321_o3-2048x1367.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2022_TGM_MMA_321_o3-1920x1281.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Carrie Mae Weems, ‘Leave! Leave Now!,’ 2022; Single-channel digital video (color, sound) installation with mixed media, 25 min. \u003ccite>(Courtesy the artist and Jack Shainman Gallery, New York; Photo by Mitro Hood, courtesy of the Mississippi Museum of Art and Baltimore Museum of Art)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Leaving the exhibition, I too felt moved to ask more questions about my family’s migration story. I called my mother, realizing I’d never heard the specific reason they landed in Porterville first. “My father got a resident physician job at Porterville State Hospital [now Porterville Developmental Center] and the job came with a house,” she told me.\u003c/p>\n\u003cp>I won’t be surprised if other Black Californians are prompted to reflect on how and when their family members first arrived in the state after experiencing \u003ci>A Movement in Every Direction\u003c/i>. In fact, they’re invited to, via an interactive component where visitors can record memories about their family’s migration story to join a growing archive. (The program notes that more than 300,000 Black people arrived in the Bay Area during the Great Migration.)\u003c/p>\n\u003cp>For everyone who visits, the show and archive are a reminder of how strong the Black American spirit is — and how it continuously strives, in both life and in art.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘A Movement in Every Direction: Legacies of the Great Migration’ is on view through Sept. 22, 2024 at the Berkeley Art Museum and Pacific Film Archive (2155 Center St.). \u003ca href=\"https://bampfa.org/program/movement-every-direction-legacies-great-migration\">Find more details and information here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Bruce Hornsby Brings New ‘Deep Sea Vents’ Tour to the Bay Area",
"headTitle": "Bruce Hornsby Brings New ‘Deep Sea Vents’ Tour to the Bay Area | KQED",
"content": "\u003cp>Songwriter and musician \u003ca href=\"https://www.brucehornsby.com/\">Bruce Hornsby\u003c/a> has one of \u003ci>the\u003c/i> most recognizable piano intros in music. Those clear, cascading notes on “\u003ca href=\"https://www.youtube.com/watch?v=cOeKidp-iWo\">The Way It Is\u003c/a>,” off the 1986 album of the same name, became a launching pad for a storied career that has traversed genres and had him working with a wide range of collaborations.\u003c/p>\n\u003cp>Those collaborations include some Bay Area ties — like playing with The Grateful Dead in the early ’90s, putting his piano on iconic tracks like Bonnie Raitt’s “\u003ca href=\"https://www.youtube.com/watch?v=nW9Cu6GYqxo\">I Can’t Make You Love Me\u003c/a>,” and being sampled by Tupac for one of the rapper’s biggest songs, “\u003ca href=\"https://www.youtube.com/watch?v=eXvBjCO19QY\">Changes\u003c/a>.”\u003c/p>\n\u003cp>Hornsby’s latest project is a new water-themed album, \u003ca href=\"https://www.brucehornsby.com/deep-sea-vents\">\u003ci>Deep Sea Vents\u003c/i>\u003c/a>, in collaboration with the sextet \u003ca href=\"https://www.ymusicensemble.com/\">yMusic\u003c/a>. Performing together as BrhyM (pronounced “Brim”), they’re headed to San Francisco’s \u003ca href=\"https://www.ticketmaster.com/event/1C005F582CB36991\">Herbst Theatre on April 5\u003c/a> and Santa Rosa’s \u003ca href=\"https://lutherburbankcenter.org/event/bruce-hornsby24/\">Luther Burbank Center for the Arts on April 7\u003c/a>.\u003c/p>\n\u003cp>I talked with Hornsby over Zoom about his Bay Area music memories (which involved pranking the band Journey), the inspiration behind his new album and always exploring different sounds in his music, haters be damned.\u003c/p>\n\u003cp>\u003ci>Interview has been edited for length and clarity.\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>Ariana Proehl:\u003c/b> \u003cstrong>You’ve performed in the Bay Area a lot over the years. And some may not know that you recorded some of your first album \u003ci>The Way It Is\u003c/i> in Sausalito back in the ’80s. What stands out to you when you look back at that time, recording out here?\u003c/strong>\u003c/p>\n\u003cp>\u003cb>Bruce Hornsby:\u003c/b> The group Journey was working next to us, and so somehow we got it into our heads to start phone pranking Journey. So I did that and called in to speak to [Journey lead guitarist] Neal Schon. I was a young man trying to get an audition for the group, that I referred to as “The Journeys.” “Hi, I’m trying to get an audition with The Journeys, is this Neal Schons?” I was using the pseudonym Melvin “Mooney” Minkins after a guy I went to high school with. So this just went on and on. So much so that in the credits for Journey’s record \u003ci>Raised on Radio\u003c/i>, there’s a special thanks to Melvin Minkins, and that’s why. I was phone pranking their manager, Herbie Herbert. They found out about it, and then they liked it. They got such a kick out of it, they had me phone pranking other people, friends of theirs.\u003c/p>\n\u003cp>I used to phone prank [Jerry] Garcia for that matter, in the later years.\u003c/p>\n\u003cp>\u003cb>Speaking of Jerry Garcia and Bay Area memories, you toured with The Grateful Dead in the early ’90s, playing keyboards for over 100 shows. What are some of your favorite memories playing with them?\u003c/b>\u003c/p>\n\u003cp>Oh, there are so many. Touring through Europe. Just the origin — the first gigs I did with them, I basically came in off the street and started winging it with them with, no rehearsal, at Madison Square Garden. That was crazy. And I used to play in my older brother’s Grateful Dead cover band in Charlottesville, Virginia. The name of the band was Bobby Hi-Test and the Octane Kids. And my brother is Bobby Hornsby. So imagine all those people who used to hang around with us, going to these great alcohol and hippie frat parties at University of Virginia playing Dead covers. Imagine them 16 years later, coming to Madison Square Garden to watch me start playing with that band. It was just an incomparable experience. Truly transcendent.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=LTu5BmFFt00\u003c/p>\n\u003cp>\u003cb>Let’s talk about what brings you to the Bay Area this time around – your new album \u003ci>Deep Sea Vents\u003c/i>, with the ensemble yMusic. What sparked this album? \u003c/b>\u003c/p>\n\u003cp>In the fall of 2019, they called me up and asked me if I would do a little five-song tour with them. Then Rob [Moose of yMusic] asked if I’d be interested in writing a song with him that we could play as our encore every night. So I said, “Sure, send me a track.” They sent me this track and I wrote a song called “\u003ca href=\"https://www.youtube.com/watch?v=l--wZYW0Au0\">Deep Sea Vents\u003c/a>.” \u003cspan style=\"font-weight: 400\">We had a great time playing that at our five concerts. And after the last one we said, “hey, let’s keep doing this, let’s keep writing.” \u003c/span>Then a week later, the COVID shutdown occurred. In the fall, we reconvened on the phone. They would send me a track every two months or so. And we just kept on going. I was reading \u003ci>Moby Dick\u003c/i> at the time. And all of a sudden they sent me this track that sounded like the book. So I decided to channel Herman Melville and write this song “The Wild Whaling Life.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=4vu5cF3YhFg\u003c/p>\n\u003cp>And they sent me another song — their working title was “Duck Hunt.” It starts off with these sort of quacking sounding clarinets and trumpet. I thought, “Well, okay, I’m going to write about the platypus.” Sort of taking my cue from John Lennon’s “\u003ca href=\"https://www.youtube.com/watch?v=Ws5klxbI87I\">I Am the Walrus\u003c/a>.” So I wrote the song “\u003ca href=\"https://youtu.be/IQIorHlOLC0?feature=shared\">Platypus Wow\u003c/a>” over their track. These three songs together signaled very clearly that this record really should have a running theme. And so I decided every song that I write from here on out will be ocean-related or aquatic-related.\u003c/p>\n\u003cp>\u003cb>You’re known for taking your music in all kinds of directions. I scanned some of the YouTube comments for your \u003ci>Deep Sea Vents\u003c/i> album tracks and one fan mentioned loving your music because you’re true to yourself and not a style. Does that resonate? \u003c/b>\u003c/p>\n\u003cp>Well, now you’re being very kind to read the nice comments because there are always naysayers — people who would like me to make the same record stylistically for my entire life. I’m a bit of a restless soul. I’m an old music school nerd and I love so many different types of music. And I’ve just ended up being reached out to by so many people from so many disparate areas of musical life. So consequently, I’ve made bluegrass records \u003ca href=\"https://music.youtube.com/playlist?list=OLAK5uy_kklijAlIjpugeonmOdV-MPNXh9aQXYn3Y\">with Ricky Skaggs\u003c/a>. I’ve made jazz records \u003ca href=\"https://www.youtube.com/watch?v=lnY2NOGdNfg\">with Jack DeJohnette and Christian McBride\u003c/a>, just on and on. And [\u003ci>Deep Sea Vents\u003c/i>] is just another version of all that. Another area to mine and to explore.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=hqXDZgxdhyQ\u003c/p>\n\u003cp>I’m always looking for new inspiration. Thirty-nine years into this crazy career, the page is pretty filled in and I don’t like to repeat myself. So I’m interested in the new. I’m interested in the modern. Mind you, I say that, but I also tend to always write a couple of songs that come from the folk world. And that folk world was being mined early on in my music — \u003ci>The Way It Is\u003c/i> record, \u003ci>Scenes from the Southside\u003c/i> record — and I’ve kept on doing that. So hopefully there’s always something for the old-time listener who really isn’t interested in much else than that. But yes, that’s been my life, and it’s been extremely fulfilling. But you were very kind to not cite some of the nasty ones because I always get them. I’ve been getting nasty letters from fans since my second record saying, “How dare you change?” And my reaction was, “Well, okay, but you haven’t seen anything yet.” And that’s been my life.\u003c/p>\n\u003cp>\u003cb>We’re seeing this kind of conversation on the biggest of stages right now, because we just had one of the world’s biggest artists, Beyoncé, making something that people aren’t used to hearing her make with \u003ci>Cowboy Carter\u003c/i>. It will be interesting to see how we continue to evolve as a society in terms of thinking about genre and \u003ci>not\u003c/i> thinking about genre. \u003c/b>\u003c/p>\n\u003cp>I feel that Beyoncé’s record is nodding to the country world, but it’s hardly trying to be that. It is her own thing. It is Beyoncé music that leans now and then into a bit of a country flavor with the instrumentation, say, on the “Texas Hold ’Em” song.\u003c/p>\n\u003cp>\u003cb>Right, and \u003ca href=\"https://www.instagram.com/p/C4s6Zr7rlwA/?igsh=OGJlbGx0ODBqemc5\">she even said\u003c/a>, “This ain’t a Country album. This is a ‘Beyoncé’ album.” And so I feel like with you – you have a trend as well of being able to say, you know, this isn’t a “this or that” album, this is a Bruce Hornsby album. And where I go, is where I go.\u003c/b>\u003c/p>\n\u003cp>Well, okay. So I guess we’re kindred spirits, Beyoncé and I [laughter]. I’ll take it, because, of course, she’s absolutely fantastic. And this record [\u003ci>Cowboy Carter\u003c/i>] is more of that same high bar, high level.\u003c/p>\n\u003cp>\u003cb>With all that said, back to the tour at hand: how are you approaching it? Are you staying focused on new music? What can audiences expect?\u003c/b>\u003c/p>\n\u003cp>We are playing three or four old, well-known songs from 1986 to 1992. And Rob Moose [of yMusic] wrote some gorgeous arrangements of these songs. So the concert every night will include that. We’re not just “inflicting modernity” all night. We are also playing those songs, but in a very beautiful and modern fashion.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>Bruce Hornsby and yMusic perform as BryhM at the Herbst Theatre (401 Van Ness St., San Francisco) on April 5, and at the Luther Burbank Center for the Arts (50 Mark West Springs Rd., Santa Rosa) on April 7. \u003ca href=\"https://www.brucehornsby.com/tour\">Click here for ticket information\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Songwriter and musician \u003ca href=\"https://www.brucehornsby.com/\">Bruce Hornsby\u003c/a> has one of \u003ci>the\u003c/i> most recognizable piano intros in music. Those clear, cascading notes on “\u003ca href=\"https://www.youtube.com/watch?v=cOeKidp-iWo\">The Way It Is\u003c/a>,” off the 1986 album of the same name, became a launching pad for a storied career that has traversed genres and had him working with a wide range of collaborations.\u003c/p>\n\u003cp>Those collaborations include some Bay Area ties — like playing with The Grateful Dead in the early ’90s, putting his piano on iconic tracks like Bonnie Raitt’s “\u003ca href=\"https://www.youtube.com/watch?v=nW9Cu6GYqxo\">I Can’t Make You Love Me\u003c/a>,” and being sampled by Tupac for one of the rapper’s biggest songs, “\u003ca href=\"https://www.youtube.com/watch?v=eXvBjCO19QY\">Changes\u003c/a>.”\u003c/p>\n\u003cp>Hornsby’s latest project is a new water-themed album, \u003ca href=\"https://www.brucehornsby.com/deep-sea-vents\">\u003ci>Deep Sea Vents\u003c/i>\u003c/a>, in collaboration with the sextet \u003ca href=\"https://www.ymusicensemble.com/\">yMusic\u003c/a>. Performing together as BrhyM (pronounced “Brim”), they’re headed to San Francisco’s \u003ca href=\"https://www.ticketmaster.com/event/1C005F582CB36991\">Herbst Theatre on April 5\u003c/a> and Santa Rosa’s \u003ca href=\"https://lutherburbankcenter.org/event/bruce-hornsby24/\">Luther Burbank Center for the Arts on April 7\u003c/a>.\u003c/p>\n\u003cp>I talked with Hornsby over Zoom about his Bay Area music memories (which involved pranking the band Journey), the inspiration behind his new album and always exploring different sounds in his music, haters be damned.\u003c/p>\n\u003cp>\u003ci>Interview has been edited for length and clarity.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>Ariana Proehl:\u003c/b> \u003cstrong>You’ve performed in the Bay Area a lot over the years. And some may not know that you recorded some of your first album \u003ci>The Way It Is\u003c/i> in Sausalito back in the ’80s. What stands out to you when you look back at that time, recording out here?\u003c/strong>\u003c/p>\n\u003cp>\u003cb>Bruce Hornsby:\u003c/b> The group Journey was working next to us, and so somehow we got it into our heads to start phone pranking Journey. So I did that and called in to speak to [Journey lead guitarist] Neal Schon. I was a young man trying to get an audition for the group, that I referred to as “The Journeys.” “Hi, I’m trying to get an audition with The Journeys, is this Neal Schons?” I was using the pseudonym Melvin “Mooney” Minkins after a guy I went to high school with. So this just went on and on. So much so that in the credits for Journey’s record \u003ci>Raised on Radio\u003c/i>, there’s a special thanks to Melvin Minkins, and that’s why. I was phone pranking their manager, Herbie Herbert. They found out about it, and then they liked it. They got such a kick out of it, they had me phone pranking other people, friends of theirs.\u003c/p>\n\u003cp>I used to phone prank [Jerry] Garcia for that matter, in the later years.\u003c/p>\n\u003cp>\u003cb>Speaking of Jerry Garcia and Bay Area memories, you toured with The Grateful Dead in the early ’90s, playing keyboards for over 100 shows. What are some of your favorite memories playing with them?\u003c/b>\u003c/p>\n\u003cp>Oh, there are so many. Touring through Europe. Just the origin — the first gigs I did with them, I basically came in off the street and started winging it with them with, no rehearsal, at Madison Square Garden. That was crazy. And I used to play in my older brother’s Grateful Dead cover band in Charlottesville, Virginia. The name of the band was Bobby Hi-Test and the Octane Kids. And my brother is Bobby Hornsby. So imagine all those people who used to hang around with us, going to these great alcohol and hippie frat parties at University of Virginia playing Dead covers. Imagine them 16 years later, coming to Madison Square Garden to watch me start playing with that band. It was just an incomparable experience. Truly transcendent.\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/LTu5BmFFt00'\n title='//www.youtube.com/embed/LTu5BmFFt00'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cb>Let’s talk about what brings you to the Bay Area this time around – your new album \u003ci>Deep Sea Vents\u003c/i>, with the ensemble yMusic. What sparked this album? \u003c/b>\u003c/p>\n\u003cp>In the fall of 2019, they called me up and asked me if I would do a little five-song tour with them. Then Rob [Moose of yMusic] asked if I’d be interested in writing a song with him that we could play as our encore every night. So I said, “Sure, send me a track.” They sent me this track and I wrote a song called “\u003ca href=\"https://www.youtube.com/watch?v=l--wZYW0Au0\">Deep Sea Vents\u003c/a>.” \u003cspan style=\"font-weight: 400\">We had a great time playing that at our five concerts. And after the last one we said, “hey, let’s keep doing this, let’s keep writing.” \u003c/span>Then a week later, the COVID shutdown occurred. In the fall, we reconvened on the phone. They would send me a track every two months or so. And we just kept on going. I was reading \u003ci>Moby Dick\u003c/i> at the time. And all of a sudden they sent me this track that sounded like the book. So I decided to channel Herman Melville and write this song “The Wild Whaling Life.”\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/4vu5cF3YhFg'\n title='//www.youtube.com/embed/4vu5cF3YhFg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>And they sent me another song — their working title was “Duck Hunt.” It starts off with these sort of quacking sounding clarinets and trumpet. I thought, “Well, okay, I’m going to write about the platypus.” Sort of taking my cue from John Lennon’s “\u003ca href=\"https://www.youtube.com/watch?v=Ws5klxbI87I\">I Am the Walrus\u003c/a>.” So I wrote the song “\u003ca href=\"https://youtu.be/IQIorHlOLC0?feature=shared\">Platypus Wow\u003c/a>” over their track. These three songs together signaled very clearly that this record really should have a running theme. And so I decided every song that I write from here on out will be ocean-related or aquatic-related.\u003c/p>\n\u003cp>\u003cb>You’re known for taking your music in all kinds of directions. I scanned some of the YouTube comments for your \u003ci>Deep Sea Vents\u003c/i> album tracks and one fan mentioned loving your music because you’re true to yourself and not a style. Does that resonate? \u003c/b>\u003c/p>\n\u003cp>Well, now you’re being very kind to read the nice comments because there are always naysayers — people who would like me to make the same record stylistically for my entire life. I’m a bit of a restless soul. I’m an old music school nerd and I love so many different types of music. And I’ve just ended up being reached out to by so many people from so many disparate areas of musical life. So consequently, I’ve made bluegrass records \u003ca href=\"https://music.youtube.com/playlist?list=OLAK5uy_kklijAlIjpugeonmOdV-MPNXh9aQXYn3Y\">with Ricky Skaggs\u003c/a>. I’ve made jazz records \u003ca href=\"https://www.youtube.com/watch?v=lnY2NOGdNfg\">with Jack DeJohnette and Christian McBride\u003c/a>, just on and on. And [\u003ci>Deep Sea Vents\u003c/i>] is just another version of all that. Another area to mine and to explore.\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/hqXDZgxdhyQ'\n title='//www.youtube.com/embed/hqXDZgxdhyQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>I’m always looking for new inspiration. Thirty-nine years into this crazy career, the page is pretty filled in and I don’t like to repeat myself. So I’m interested in the new. I’m interested in the modern. Mind you, I say that, but I also tend to always write a couple of songs that come from the folk world. And that folk world was being mined early on in my music — \u003ci>The Way It Is\u003c/i> record, \u003ci>Scenes from the Southside\u003c/i> record — and I’ve kept on doing that. So hopefully there’s always something for the old-time listener who really isn’t interested in much else than that. But yes, that’s been my life, and it’s been extremely fulfilling. But you were very kind to not cite some of the nasty ones because I always get them. I’ve been getting nasty letters from fans since my second record saying, “How dare you change?” And my reaction was, “Well, okay, but you haven’t seen anything yet.” And that’s been my life.\u003c/p>\n\u003cp>\u003cb>We’re seeing this kind of conversation on the biggest of stages right now, because we just had one of the world’s biggest artists, Beyoncé, making something that people aren’t used to hearing her make with \u003ci>Cowboy Carter\u003c/i>. It will be interesting to see how we continue to evolve as a society in terms of thinking about genre and \u003ci>not\u003c/i> thinking about genre. \u003c/b>\u003c/p>\n\u003cp>I feel that Beyoncé’s record is nodding to the country world, but it’s hardly trying to be that. It is her own thing. It is Beyoncé music that leans now and then into a bit of a country flavor with the instrumentation, say, on the “Texas Hold ’Em” song.\u003c/p>\n\u003cp>\u003cb>Right, and \u003ca href=\"https://www.instagram.com/p/C4s6Zr7rlwA/?igsh=OGJlbGx0ODBqemc5\">she even said\u003c/a>, “This ain’t a Country album. This is a ‘Beyoncé’ album.” And so I feel like with you – you have a trend as well of being able to say, you know, this isn’t a “this or that” album, this is a Bruce Hornsby album. And where I go, is where I go.\u003c/b>\u003c/p>\n\u003cp>Well, okay. So I guess we’re kindred spirits, Beyoncé and I [laughter]. I’ll take it, because, of course, she’s absolutely fantastic. And this record [\u003ci>Cowboy Carter\u003c/i>] is more of that same high bar, high level.\u003c/p>\n\u003cp>\u003cb>With all that said, back to the tour at hand: how are you approaching it? Are you staying focused on new music? What can audiences expect?\u003c/b>\u003c/p>\n\u003cp>We are playing three or four old, well-known songs from 1986 to 1992. And Rob Moose [of yMusic] wrote some gorgeous arrangements of these songs. So the concert every night will include that. We’re not just “inflicting modernity” all night. We are also playing those songs, but in a very beautiful and modern fashion.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>Bruce Hornsby and yMusic perform as BryhM at the Herbst Theatre (401 Van Ness St., San Francisco) on April 5, and at the Luther Burbank Center for the Arts (50 Mark West Springs Rd., Santa Rosa) on April 7. \u003ca href=\"https://www.brucehornsby.com/tour\">Click here for ticket information\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"order": 9
},
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"id": "freakonomics-radio",
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"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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},
"link": "/radio/program/how-i-built-this",
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"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"rss": "https://feeds.npr.org/510360/podcast.xml"
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},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
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"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
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"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
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},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
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"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
"subscribe": {
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"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
"npr": "https://www.npr.org/podcasts/572155894/political-breakdown",
"stitcher": "https://www.stitcher.com/podcast/kqed/political-breakdown",
"spotify": "https://open.spotify.com/show/07RVyIjIdk2WDuVehvBMoN",
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