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’
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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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"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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"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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"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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"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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"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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"headTitle": "Oakland’s ‘couchdate’ Makes Room for Creatives to Hang and Play | KQED",
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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>\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>\u003c/p>\u003c/div>",
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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>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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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"radiolab": {
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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"reveal": {
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"science-friday": {
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