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In an effort to make the concerts accessible to the community, tickets for East Palo Alto residents were offered at one-third the cost of general entry. \u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/260726-EPACenter-JY-09-KQED.jpg\" alt=\"\" class=\"wp-image-13992123\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/260726-EPACenter-JY-09-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/260726-EPACenter-JY-09-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/260726-EPACenter-JY-09-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/260726-EPACenter-JY-09-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">Cassandra Wilson, left, and Margaret Blackwell, right, enjoy the music as Con Funk Shun plays at EPACENTER in East Palo Alto on Sunday, July 26, 2026. (Juliana Yamada for KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>With Con Funk Shun onstage to close out the concert series, the sun shined on stage, while a metaphorical light shined throughout the crowd. People spent the band’s set dancing, smiling and connecting.\u003c/p>\n\n\n\n\u003cp>Many in attendance remembered the site, in an industrial area on Bay Road, before EPACENTER was built. \u003c/p>\n\n\n\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“ I think it was a tire company, a moving company. It was a couple of different things that used to be in this area before they converted it over here to this good space that we never got to utilize before,” said Kabaila Everett, who came to the event with her mother Carol Dozier. \u003c/p>\n\n\n\n\u003cp>While the makeup of the crowd was older, many were excited to see that the next generation in East Palo Alto now has a space to cultivate their interests.\u003c/p>\n\n\n\n\u003cp>Both inside and outside the building, the impact of the students is visible in every corner. The signs above the entryway and the cafe read “Welcome” in English, “Bienvenido” in Spanish and “Talitali Fiefia” in Tongan to accommodate the diversity of the community that EPACENTER serves. \u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/260726-EPACenter-JY-08-KQED.jpg\" alt=\"\" class=\"wp-image-13992122\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/260726-EPACenter-JY-08-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/260726-EPACenter-JY-08-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/260726-EPACenter-JY-08-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/260726-EPACenter-JY-08-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">Felton Pilate of Con Funk Shun sings at EPACENTER in East Palo Alto on Sunday, July 26, 2026. (Juliana Yamada for KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>Staci Edwards, the center’s strategic initiative associate, remembers being in middle school and wanting to take up playing the guitar, but there were few places in East Palo Alto where she could learn. Luckily, her sister attended a college preparatory program, and Edwards was able to take lessons in the same building.\u003c/p>\n\n\n\n\u003cp>In that same room where she played guitar, she would also join a group that led to the beginning of EPACENTER. With the help of the community’s youth, the vision for the center came to life. \u003c/p>\n\n\n\n\u003cp>“ I was excited,” Edwards said. “Just the idea of just being able to imagine what this could become, and how this could help our community, and give more opportunities to the youth in our community, was such an exhilarating feeling within itself.”\u003c/p>\n\n\n\n\n\n\u003cp>On Sunday, the walls painted with blue, green, orange and other vibrant colors — chosen by students —surrounded the amphitheater. On stage, East Palo Alto’s own Will Roc Project opened the show, playing the hits of Vanity 6, the Mary Jane Girls and more. \u003c/p>\n\n\n\n\u003cp>“It’s been very moving to know that you have a positive impact on all sorts of people who really didn’t have access to an opportunity like that before, “ said Nadine Rambeau, EPACENTER’s executive director. “When people come up to me, they have such a light in their eyes. It’s almost like something that they have been wanting, and they’re lit up from the inside.”\u003c/p>\n\n\n\n\u003cp>Ronnie Matthews, who’s seen many changes over the 50 years he’s lived in East Palo Alto, welcomed the new energy brought by EPACENTER.\u003c/p>\n\n\n\n\u003cp>“This is beautiful for the community,” Matthews said. “Last week we had our first car show here, and it was really nice. It brought everything full circle. Me and my friends as kids, we grew up building our cars out of these wrecking yards that used to be down there.” \u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/260726-EPACenter-JY-06-KQED.jpg\" alt=\"\" class=\"wp-image-13992121\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/260726-EPACenter-JY-06-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/260726-EPACenter-JY-06-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/260726-EPACenter-JY-06-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/260726-EPACenter-JY-06-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">Funk band Con Funk Shun plays at EPACENTER in East Palo Alto,on Sunday, July 26, 2026. (Juliana Yamada for KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>When Con Funk Shun hit the stage with their sparkling blazers and big brass instruments, the East Palo Alto community joined together in joy. A boy and his mother danced on the sidelines. The crowd hugged and celebrated to the music. \u003c/p>\n\n\n\n\u003cp>EPACENTER hopes to continue serving people of all ages in East Palo Alto, with the summer’s concert series as just a start. \u003c/p>\n\n\n\n\u003cp>\u003c/p>\n\u003cp>“We have classes for young people. We have internships for young people,” Rambeau said. “But it was important for us to start thinking about other age groups, especially those who helped found the city and have been living in it for decades and decades, to finally gain access to our facility. That’s why we started here.” \u003c/p>\n\n",
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"innerHTML": "\n\u003cp>Both inside and outside the building, the impact of the students is visible in every corner. The signs above the entryway and the cafe read “Welcome” in English, “Bienvenido” in Spanish and “Talitali Fiefia” in Tongan to accommodate the diversity of the community that EPACENTER serves. \u003c/p>\n",
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"innerHTML": "\n\u003cp>On Sunday, the walls painted with blue, green, orange and other vibrant colors — chosen by students —surrounded the amphitheater. On stage, East Palo Alto’s own Will Roc Project opened the show, playing the hits of Vanity 6, the Mary Jane Girls and more. \u003c/p>\n",
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"innerHTML": "\n\u003cp>“It’s been very moving to know that you have a positive impact on all sorts of people who really didn’t have access to an opportunity like that before, “ said Nadine Rambeau, EPACENTER’s executive director. “When people come up to me, they have such a light in their eyes. It’s almost like something that they have been wanting, and they’re lit up from the inside.”\u003c/p>\n",
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"innerHTML": "\n\u003cp>Ronnie Matthews, who’s seen many changes over the 50 years he’s lived in East Palo Alto, welcomed the new energy brought by EPACENTER.\u003c/p>\n",
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"innerHTML": "\n\u003cp>“This is beautiful for the community,” Matthews said. “Last week we had our first car show here, and it was really nice. It brought everything full circle. Me and my friends as kids, we grew up building our cars out of these wrecking yards that used to be down there.” \u003c/p>\n",
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"innerHTML": "\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/260726-EPACenter-JY-06-KQED.jpg\" alt=\"\" class=\"wp-image-13992121\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/260726-EPACenter-JY-06-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/260726-EPACenter-JY-06-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/260726-EPACenter-JY-06-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/260726-EPACenter-JY-06-KQED-1536x1024.jpg 1536w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\">Funk band Con Funk Shun plays at EPACENTER in East Palo Alto,on Sunday, July 26, 2026.\u003c/figcaption>\u003c/figure>\n",
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"innerHTML": "\n\u003cp>EPACENTER hopes to continue serving people of all ages in East Palo Alto, with the summer’s concert series as just a start. \u003c/p>\n",
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"innerHTML": "\n\u003cp>“We have classes for young people. We have internships for young people,” Rambeau said. “But it was important for us to start thinking about other age groups, especially those who helped found the city and have been living in it for decades and decades, to finally gain access to our facility. That’s why we started here.” \u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/east-palo-alto\">East Palo Alto\u003c/a> is often overshadowed by the neighboring city of Palo Alto, one of the Bay Area’s tech powerhouses. But it was a different story this past Sunday, when the newest youth center in East Palo Alto welcomed all generations for music from Vallejo’s own Con Funk Shun. \u003c/p>\n\n\n\n\u003cp>\u003ca href=\"https://epacenter.org/\">EPACENTER\u003c/a> officially opened its doors in 2022, with input from the city’s youth. As a space for students to cultivate their creativity, it offers workshops and studio space for design, art, dance, fashion and more.\u003c/p>\n\n\n\n\u003cp>More recently, they’ve expanded their programming to include the community’s elders. That includes this year’s summertime concert series, which before Sunday’s show had hosted artists like Sheila E., Tony Lindsay and Pete Escovedo. In an effort to make the concerts accessible to the community, tickets for East Palo Alto residents were offered at one-third the cost of general entry. \u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/260726-EPACenter-JY-09-KQED.jpg\" alt=\"\" class=\"wp-image-13992123\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/260726-EPACenter-JY-09-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/260726-EPACenter-JY-09-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/260726-EPACenter-JY-09-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/260726-EPACenter-JY-09-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">Cassandra Wilson, left, and Margaret Blackwell, right, enjoy the music as Con Funk Shun plays at EPACENTER in East Palo Alto on Sunday, July 26, 2026. (Juliana Yamada for KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>With Con Funk Shun onstage to close out the concert series, the sun shined on stage, while a metaphorical light shined throughout the crowd. People spent the band’s set dancing, smiling and connecting.\u003c/p>\n\n\n\n\u003cp>Many in attendance remembered the site, in an industrial area on Bay Road, before EPACENTER was built. \u003c/p>\n\n\n\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“ I think it was a tire company, a moving company. It was a couple of different things that used to be in this area before they converted it over here to this good space that we never got to utilize before,” said Kabaila Everett, who came to the event with her mother Carol Dozier. \u003c/p>\n\n\n\n\u003cp>While the makeup of the crowd was older, many were excited to see that the next generation in East Palo Alto now has a space to cultivate their interests.\u003c/p>\n\n\n\n\u003cp>Both inside and outside the building, the impact of the students is visible in every corner. The signs above the entryway and the cafe read “Welcome” in English, “Bienvenido” in Spanish and “Talitali Fiefia” in Tongan to accommodate the diversity of the community that EPACENTER serves. \u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/260726-EPACenter-JY-08-KQED.jpg\" alt=\"\" class=\"wp-image-13992122\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/260726-EPACenter-JY-08-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/260726-EPACenter-JY-08-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/260726-EPACenter-JY-08-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/260726-EPACenter-JY-08-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">Felton Pilate of Con Funk Shun sings at EPACENTER in East Palo Alto on Sunday, July 26, 2026. (Juliana Yamada for KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>Staci Edwards, the center’s strategic initiative associate, remembers being in middle school and wanting to take up playing the guitar, but there were few places in East Palo Alto where she could learn. Luckily, her sister attended a college preparatory program, and Edwards was able to take lessons in the same building.\u003c/p>\n\n\n\n\u003cp>In that same room where she played guitar, she would also join a group that led to the beginning of EPACENTER. With the help of the community’s youth, the vision for the center came to life. \u003c/p>\n\n\n\n\u003cp>“ I was excited,” Edwards said. “Just the idea of just being able to imagine what this could become, and how this could help our community, and give more opportunities to the youth in our community, was such an exhilarating feeling within itself.”\u003c/p>\n\n\n\n\n\n\u003cp>On Sunday, the walls painted with blue, green, orange and other vibrant colors — chosen by students —surrounded the amphitheater. On stage, East Palo Alto’s own Will Roc Project opened the show, playing the hits of Vanity 6, the Mary Jane Girls and more. \u003c/p>\n\n\n\n\u003cp>“It’s been very moving to know that you have a positive impact on all sorts of people who really didn’t have access to an opportunity like that before, “ said Nadine Rambeau, EPACENTER’s executive director. “When people come up to me, they have such a light in their eyes. It’s almost like something that they have been wanting, and they’re lit up from the inside.”\u003c/p>\n\n\n\n\u003cp>Ronnie Matthews, who’s seen many changes over the 50 years he’s lived in East Palo Alto, welcomed the new energy brought by EPACENTER.\u003c/p>\n\n\n\n\u003cp>“This is beautiful for the community,” Matthews said. “Last week we had our first car show here, and it was really nice. It brought everything full circle. Me and my friends as kids, we grew up building our cars out of these wrecking yards that used to be down there.” \u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/260726-EPACenter-JY-06-KQED.jpg\" alt=\"\" class=\"wp-image-13992121\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/260726-EPACenter-JY-06-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/260726-EPACenter-JY-06-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/260726-EPACenter-JY-06-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/260726-EPACenter-JY-06-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">Funk band Con Funk Shun plays at EPACENTER in East Palo Alto,on Sunday, July 26, 2026. (Juliana Yamada for KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>When Con Funk Shun hit the stage with their sparkling blazers and big brass instruments, the East Palo Alto community joined together in joy. A boy and his mother danced on the sidelines. The crowd hugged and celebrated to the music. \u003c/p>\n\n\n\n\u003cp>EPACENTER hopes to continue serving people of all ages in East Palo Alto, with the summer’s concert series as just a start. \u003c/p>\n\n\n\n\u003cp>\u003c/p>\n\u003cp>“We have classes for young people. We have internships for young people,” Rambeau said. “But it was important for us to start thinking about other age groups, especially those who helped found the city and have been living in it for decades and decades, to finally gain access to our facility. That’s why we started here.” \u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "mostly-cloudy-party-electronic-music-san-francisco",
"title": "Inside Mostly Cloudy, SF’s Most Eclectic Electronic Music Party",
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"content": "\u003cp>Brain-rattling bass pumps through the speakers of the Foundry on Folsom Street on a Friday night in June. The smoke machine hisses and psychedelic blobs swirl on the projector, illuminating the dark warehouse. The dance floor fills up with people as DJs QUEENIE, Martyn Bootyspoon and Bae Bae blend electronic music from all corners of the world. \u003c/p>\n\n\n\n\u003cp>The DJs blend R&B songs with raunchy lyrics, like Jodeci’s “Freek’n You,” with fast drums that get everyone moving their feet until they sweat. The dancers two-step, jerk and jump to the music as if they’ve been transported.\u003c/p>\n\n\n\n\u003cp>Julia Avila, a.k.a QUEENIE, presides over the room from behind the decks, dressed in all black with boot-cut jeans, platform boots and long, curly hair. For the past three years, Avila has been bringing people together with her \u003ca href=\"https://www.instagram.com/itsmostlycloudy/?hl=en\">Mostly Cloudy\u003c/a> party series, which celebrates Black electronic music, including ghetto tech from Detroit, Miami bass, Brazilian baile funk and Chicago house.\u003c/p>\n\n\n\n\n\n\u003cp>Mostly Cloudy began in 2024 as a party in Avila’s backyard. Over the past two years, it’s attracted a loyal following, both through events and social media. On TikTok and Instagram as \u003ca href=\"https://www.tiktok.com/@cafeconpostre\">@cafeconpostre\u003c/a>, Avila has a combined total of over 70,000 followers. At a time when major publications still think \u003ca href=\"https://www.usatoday.com/story/opinion/columnist/2025/08/19/alcohol-decline-drinking-gen-z-social/85667717007/\">Gen Z only connects with the world through their screens\u003c/a>, Mostly Cloudy brings hundreds of young party-goers to San Francisco venues like basement club Monarch and wine bar Arcana. \u003c/p>\n\n\n\n\u003cp>“ I found a lot of success on TikTok with the promoting, and in September, I was able to quit my full-time job,” Avila said. “At first it was kind of just about female beginner DJs and having a space to throw shows. … And it turned into me inviting a lot of mainly Latin America’s emerging electronic music artists to come over here.”\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/061926Mostly-Cloudy_GH_008_qed.jpg\" alt=\"\" class=\"wp-image-13991756\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/061926Mostly-Cloudy_GH_008_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/061926Mostly-Cloudy_GH_008_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/061926Mostly-Cloudy_GH_008_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/061926Mostly-Cloudy_GH_008_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">DJ and producer QUEENIE poses for a portrait at the Foundry during Mostly Cloudy on June 19, 2026, in San Francisco. (Gustavo Hernandez/KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>Avila is a third generation San Franciscan who grew up around music. Her dad was a rapper who went by Young AZ. “I slept in the living room and it was kind of like a studio. He had a microphone in there. He had all the walls padded, so it was soundproof,” Avila said. “And I just got to be a kid in that type of environment. And I think that was inspiring.”\u003c/p>\n\n\n\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>She fell in love with dance music as a Fulbright fellow in Brazil. During her time in the city of Araraquara, she got out of her homebody habits and found herself at parties, enjoying music beyond just listening in her headphones. Brazil opened her ears to funk paulista and other genres that aren’t mainstream in the U.S. \u003c/p>\n\n\n\n\u003cp>“I knew that when I went home I wanted to show off baile funk music in some way, but I didn’t think I would get booked for anything,” she said. “I felt it out when I came back to see if there were any events like the ones in Brazil, and there just weren’t.” \u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/DSC00021.jpg\" alt=\"\" class=\"wp-image-13991753\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/DSC00021.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/DSC00021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/DSC00021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/DSC00021-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">People dance at Mostly Cloudy’s Carnaval party at F8 in San Francisco on May 23, 2026. (Courtesy of Lupe Pacheco-Gomez)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>She created that space for herself and other DJs. “Even though the type of electronic music differs, it’s always music that you feel the need to dance to, music that naturally will make your body want to move,” she said. \u003c/p>\n\n\n\n\u003cp>People appreciate Mostly Cloudy parties for the diversity, not only in the music but among the attendees. At the party I went to last month, people from everywhere filled the dance floor in all black, tie-dye, big chunky boots and short skirts. Zade, an attendee, came out that night to celebrate Juneteenth after taking time off from partying. Looking through the Resident Advisor guide, they saw the event and wanted to push themself out of their comfort zone. \u003c/p>\n\n\n\n\u003cp>“ I knew tonight was kind of like more experimental and like had a lot of different types of music playing, so that’s kind of the reason why I chose this show, and also because it’s accessible,” Zade said.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/DSC00578.jpg\" alt=\"\" class=\"wp-image-13991755\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/DSC00578.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/DSC00578-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/DSC00578-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/DSC00578-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">Dancers come to hear baile funk, ghetto tech and other styles of electronic music at Mostly Cloudy parties. (Courtesy of Lupe Pacheco-Gomez)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>Avila often gets comments on social media from people who want to come to a Mostly Cloudy party but are scared to go alone. She encourages them anyway. “It’s the type of party where you walk in by yourself and you leave with friends,” she said. \u003c/p>\n\n\n\n\u003cp>As Mostly Cloudy grows, Avila hopes it can continue to be a place of comfort for people who don’t traditionally see themselves represented in Bay Area nightlife. She wants to take the Mostly Cloudy name and create a talent agency, which would allow her to represent other DJs that play similar music. \u003c/p>\n\n\n\n\u003cp>“I have a particular kind of determination to get San Francisco to be a place where it is a destination for electronic music,” she said. “It is a destination for partying.”\u003c/p>\n\n\n\n\u003chr class=\"wp-block-separator has-alpha-channel-opacity\">\n\n\n\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.eventbrite.com/e/mostly-cloudy-leonce-syd-tickets-1992947853679\">Mostly Cloudy’s next party\u003c/a> is at Monarch (101 6th Street, San Francisco) on July 25, with DJs Leonce, mymy, Syd, Casamiento, Afakasi Papi, cm3rn and QUEENIE. \u003c/em>\u003c/p>\n\n",
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"innerHTML": "\n\u003cp>Julia Avila, a.k.a QUEENIE, presides over the room from behind the decks, dressed in all black with boot-cut jeans, platform boots and long, curly hair. For the past three years, Avila has been bringing people together with her \u003ca href=\"https://www.instagram.com/itsmostlycloudy/?hl=en\">Mostly Cloudy\u003c/a> party series, which celebrates Black electronic music, including ghetto tech from Detroit, Miami bass, Brazilian baile funk and Chicago house.\u003c/p>\n",
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"innerHTML": "\n\u003cp>Mostly Cloudy began in 2024 as a party in Avila’s backyard. Over the past two years, it’s attracted a loyal following, both through events and social media. On TikTok and Instagram as \u003ca href=\"https://www.tiktok.com/@cafeconpostre\">@cafeconpostre\u003c/a>, Avila has a combined total of over 70,000 followers. At a time when major publications still think \u003ca href=\"https://www.usatoday.com/story/opinion/columnist/2025/08/19/alcohol-decline-drinking-gen-z-social/85667717007/\">Gen Z only connects with the world through their screens\u003c/a>, Mostly Cloudy brings hundreds of young party-goers to San Francisco venues like basement club Monarch and wine bar Arcana. \u003c/p>\n",
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"innerHTML": "\n\u003cp>“ I found a lot of success on TikTok with the promoting, and in September, I was able to quit my full-time job,” Avila said. “At first it was kind of just about female beginner DJs and having a space to throw shows. … And it turned into me inviting a lot of mainly Latin America’s emerging electronic music artists to come over here.”\u003c/p>\n",
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"innerHTML": "\n\u003cp>Avila is a third generation San Franciscan who grew up around music. Her dad was a rapper who went by Young AZ. “I slept in the living room and it was kind of like a studio. He had a microphone in there. He had all the walls padded, so it was soundproof,” Avila said. “And I just got to be a kid in that type of environment. And I think that was inspiring.”\u003c/p>\n",
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"innerHTML": "\n\u003cp>She fell in love with dance music as a Fulbright fellow in Brazil. During her time in the city of Araraquara, she got out of her homebody habits and found herself at parties, enjoying music beyond just listening in her headphones. Brazil opened her ears to funk paulista and other genres that aren’t mainstream in the U.S. \u003c/p>\n",
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"\n\u003cp>She fell in love with dance music as a Fulbright fellow in Brazil. During her time in the city of Araraquara, she got out of her homebody habits and found herself at parties, enjoying music beyond just listening in her headphones. Brazil opened her ears to funk paulista and other genres that aren’t mainstream in the U.S. \u003c/p>\n"
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"innerHTML": "\n\u003cp>“I knew that when I went home I wanted to show off baile funk music in some way, but I didn’t think I would get booked for anything,” she said. “I felt it out when I came back to see if there were any events like the ones in Brazil, and there just weren’t.” \u003c/p>\n",
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"innerHTML": "\n\u003cp>She created that space for herself and other DJs. “Even though the type of electronic music differs, it’s always music that you feel the need to dance to, music that naturally will make your body want to move,” she said. \u003c/p>\n",
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"innerHTML": "\n\u003cp>People appreciate Mostly Cloudy parties for the diversity, not only in the music but among the attendees. At the party I went to last month, people from everywhere filled the dance floor in all black, tie-dye, big chunky boots and short skirts. Zade, an attendee, came out that night to celebrate Juneteenth after taking time off from partying. Looking through the Resident Advisor guide, they saw the event and wanted to push themself out of their comfort zone. \u003c/p>\n",
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"\n\u003cp>People appreciate Mostly Cloudy parties for the diversity, not only in the music but among the attendees. At the party I went to last month, people from everywhere filled the dance floor in all black, tie-dye, big chunky boots and short skirts. Zade, an attendee, came out that night to celebrate Juneteenth after taking time off from partying. Looking through the Resident Advisor guide, they saw the event and wanted to push themself out of their comfort zone. \u003c/p>\n"
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"innerHTML": "\n\u003cp>“ I knew tonight was kind of like more experimental and like had a lot of different types of music playing, so that’s kind of the reason why I chose this show, and also because it’s accessible,” Zade said.\u003c/p>\n",
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"\n\u003cp>“ I knew tonight was kind of like more experimental and like had a lot of different types of music playing, so that’s kind of the reason why I chose this show, and also because it’s accessible,” Zade said.\u003c/p>\n"
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"innerHTML": "\n\u003cp>Avila often gets comments on social media from people who want to come to a Mostly Cloudy party but are scared to go alone. She encourages them anyway. “It’s the type of party where you walk in by yourself and you leave with friends,” she said. \u003c/p>\n",
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"innerHTML": "\n\u003cp>As Mostly Cloudy grows, Avila hopes it can continue to be a place of comfort for people who don’t traditionally see themselves represented in Bay Area nightlife. She wants to take the Mostly Cloudy name and create a talent agency, which would allow her to represent other DJs that play similar music. \u003c/p>\n",
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"innerHTML": "\n\u003cp>\u003cem>\u003ca href=\"https://www.eventbrite.com/e/mostly-cloudy-leonce-syd-tickets-1992947853679\">Mostly Cloudy’s next party\u003c/a> is at Monarch (101 6th Street, San Francisco) on July 25, with DJs Leonce, mymy, Syd, Casamiento, Afakasi Papi, cm3rn and QUEENIE. \u003c/em>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Brain-rattling bass pumps through the speakers of the Foundry on Folsom Street on a Friday night in June. The smoke machine hisses and psychedelic blobs swirl on the projector, illuminating the dark warehouse. The dance floor fills up with people as DJs QUEENIE, Martyn Bootyspoon and Bae Bae blend electronic music from all corners of the world. \u003c/p>\n\n\n\n\u003cp>The DJs blend R&B songs with raunchy lyrics, like Jodeci’s “Freek’n You,” with fast drums that get everyone moving their feet until they sweat. The dancers two-step, jerk and jump to the music as if they’ve been transported.\u003c/p>\n\n\n\n\u003cp>Julia Avila, a.k.a QUEENIE, presides over the room from behind the decks, dressed in all black with boot-cut jeans, platform boots and long, curly hair. For the past three years, Avila has been bringing people together with her \u003ca href=\"https://www.instagram.com/itsmostlycloudy/?hl=en\">Mostly Cloudy\u003c/a> party series, which celebrates Black electronic music, including ghetto tech from Detroit, Miami bass, Brazilian baile funk and Chicago house.\u003c/p>\n\n\n\n\n\n\u003cp>Mostly Cloudy began in 2024 as a party in Avila’s backyard. Over the past two years, it’s attracted a loyal following, both through events and social media. On TikTok and Instagram as \u003ca href=\"https://www.tiktok.com/@cafeconpostre\">@cafeconpostre\u003c/a>, Avila has a combined total of over 70,000 followers. At a time when major publications still think \u003ca href=\"https://www.usatoday.com/story/opinion/columnist/2025/08/19/alcohol-decline-drinking-gen-z-social/85667717007/\">Gen Z only connects with the world through their screens\u003c/a>, Mostly Cloudy brings hundreds of young party-goers to San Francisco venues like basement club Monarch and wine bar Arcana. \u003c/p>\n\n\n\n\u003cp>“ I found a lot of success on TikTok with the promoting, and in September, I was able to quit my full-time job,” Avila said. “At first it was kind of just about female beginner DJs and having a space to throw shows. … And it turned into me inviting a lot of mainly Latin America’s emerging electronic music artists to come over here.”\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/061926Mostly-Cloudy_GH_008_qed.jpg\" alt=\"\" class=\"wp-image-13991756\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/061926Mostly-Cloudy_GH_008_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/061926Mostly-Cloudy_GH_008_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/061926Mostly-Cloudy_GH_008_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/061926Mostly-Cloudy_GH_008_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">DJ and producer QUEENIE poses for a portrait at the Foundry during Mostly Cloudy on June 19, 2026, in San Francisco. (Gustavo Hernandez/KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>Avila is a third generation San Franciscan who grew up around music. Her dad was a rapper who went by Young AZ. “I slept in the living room and it was kind of like a studio. He had a microphone in there. He had all the walls padded, so it was soundproof,” Avila said. “And I just got to be a kid in that type of environment. And I think that was inspiring.”\u003c/p>\n\n\n\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>She fell in love with dance music as a Fulbright fellow in Brazil. During her time in the city of Araraquara, she got out of her homebody habits and found herself at parties, enjoying music beyond just listening in her headphones. Brazil opened her ears to funk paulista and other genres that aren’t mainstream in the U.S. \u003c/p>\n\n\n\n\u003cp>“I knew that when I went home I wanted to show off baile funk music in some way, but I didn’t think I would get booked for anything,” she said. “I felt it out when I came back to see if there were any events like the ones in Brazil, and there just weren’t.” \u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/DSC00021.jpg\" alt=\"\" class=\"wp-image-13991753\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/DSC00021.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/DSC00021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/DSC00021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/DSC00021-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">People dance at Mostly Cloudy’s Carnaval party at F8 in San Francisco on May 23, 2026. (Courtesy of Lupe Pacheco-Gomez)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>She created that space for herself and other DJs. “Even though the type of electronic music differs, it’s always music that you feel the need to dance to, music that naturally will make your body want to move,” she said. \u003c/p>\n\n\n\n\u003cp>People appreciate Mostly Cloudy parties for the diversity, not only in the music but among the attendees. At the party I went to last month, people from everywhere filled the dance floor in all black, tie-dye, big chunky boots and short skirts. Zade, an attendee, came out that night to celebrate Juneteenth after taking time off from partying. Looking through the Resident Advisor guide, they saw the event and wanted to push themself out of their comfort zone. \u003c/p>\n\n\n\n\u003cp>“ I knew tonight was kind of like more experimental and like had a lot of different types of music playing, so that’s kind of the reason why I chose this show, and also because it’s accessible,” Zade said.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/DSC00578.jpg\" alt=\"\" class=\"wp-image-13991755\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/DSC00578.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/DSC00578-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/DSC00578-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/DSC00578-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">Dancers come to hear baile funk, ghetto tech and other styles of electronic music at Mostly Cloudy parties. (Courtesy of Lupe Pacheco-Gomez)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>Avila often gets comments on social media from people who want to come to a Mostly Cloudy party but are scared to go alone. She encourages them anyway. “It’s the type of party where you walk in by yourself and you leave with friends,” she said. \u003c/p>\n\n\n\n\u003cp>As Mostly Cloudy grows, Avila hopes it can continue to be a place of comfort for people who don’t traditionally see themselves represented in Bay Area nightlife. She wants to take the Mostly Cloudy name and create a talent agency, which would allow her to represent other DJs that play similar music. \u003c/p>\n\n\n\n\u003cp>“I have a particular kind of determination to get San Francisco to be a place where it is a destination for electronic music,” she said. “It is a destination for partying.”\u003c/p>\n\n\n\n\u003chr class=\"wp-block-separator has-alpha-channel-opacity\">\n\n\n\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.eventbrite.com/e/mostly-cloudy-leonce-syd-tickets-1992947853679\">Mostly Cloudy’s next party\u003c/a> is at Monarch (101 6th Street, San Francisco) on July 25, with DJs Leonce, mymy, Syd, Casamiento, Afakasi Papi, cm3rn and QUEENIE. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "MeloDious Reps a New Generation of Bay Area Jazz at Noise Pop",
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"content": "\u003cp>On a sunny Monday afternoon at the Dempseys’ home in East Oakland, the two eldest daughters, Micaiah, 21, and Memphis, 17, positioned themselves at their instruments, finalizing their setlist for their upcoming SFJAZZ show for the annual \u003ca href=\"https://www.kqed.org/arts/tag/noise-pop\">Noise Pop\u003c/a> festival.\u003c/p>\n\u003cp>“We play music at all hours of the day,” Micaiah said. “If we’re feeling it at 4 in the morning, we’re up at 4 in the morning, playing.”\u003c/p>\n\u003cp>Micaiah, Memphis and their brother, Matthias, make up the jazz-fusion trio \u003ca href=\"https://4melodious.com/\">MeloDious\u003c/a>. The siblings first began learning their instruments in early childhood, with Micaiah on piano, Matthias on bass and Memphis on drums. Nearly nine years ago, they decided they wanted to reach more listeners than just their parents, youngest sister and music therapy cat, Olivia. So MeloDious was born. After years of writing, recording and finalizing their music, the family band made it official in 2023 with their debut album, \u003cem>Is It the Way: Volume I\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13972362\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13972362\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/duo3.jpeg\" alt=\"\" width=\"2000\" height=\"1336\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/duo3.jpeg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/duo3-800x534.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/duo3-1020x681.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/duo3-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/duo3-768x513.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/duo3-1536x1026.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/duo3-1920x1283.jpeg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Memphis and Micaiah Dempsey will perform as a duo for MeloDious’ Noise Pop set. \u003ccite>(Molly McCloskey)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Micaiah recently returned from touring in New York and Los Angeles with Oakland-raised R&B singer \u003ca href=\"https://www.kqed.org/arts/13908331/elujays-bright-rb-emerges-from-two-of-the-hardest-years-of-his-life\">Elujay\u003c/a>. Shortly after, she and Memphis began rehearsals for their March 2 Noise Pop show with guitarist Tyler Murphy and bassist Jonathan Herrera. (Matthias is currently on a break from music and focusing on his internship with the Department of Health and Human Services in Washington D.C.) [aside postid='arts_13972213']\u003c/p>\n\u003cp>“It’s nice to be recognized and respected as musicians, at this point. To be like ‘Hey, we want you guys to come play and close out Noise Pop for us,’” Michiah said. “We had the music, we were stoked.” \u003c/p>\n\u003cp>Like many people, the Dempsey siblings found their way to music through church, where the approach differed from the structure required to master jazz. “In church music, you never have to count,” Memphis said. “You always know where you are in some way because there’s lyrics. And it’s playing instrumental music for the first time, I was like, ‘Oh my goodness, I actually have to count and know where I am.’”\u003c/p>\n\u003cp>https://youtu.be/ZhfJl6mLPFw?si=5uYsS_IjPTZyC8_l\u003c/p>\n\u003cp>Micaiah, Memphis and Matthias come from a musical family. Their grandfather was Tony Newsom, a member of the soul group \u003ca href=\"https://youtu.be/sDllH9Eqd6E?si=dxfQluyYGz_WXC8C\">Ebony Jam Band\u003c/a>; he was an early influence of the siblings, along with greats like Stevie Wonder, Natalie Cole and Michael and Janet Jackson. Jazz came into their lives through the Oaktown Jazz Workshops, a nonprofit that’s been nurturing young instrumentalists for three decades.\u003c/p>\n\u003cp>“MeloDious is extremely young and up-and-coming,” said Justin Esposito, the content, social media and marketing strategist of SFJAZZ. “This is one of our earliest efforts to bring and help cultivate new artists within our SFJAZZ audiences.” [ad fullwidth]\u003c/p>\n\u003cp>MeloDious first gained traction with \u003ca href=\"https://www.instagram.com/tv/CdFslF-Fmb5/?utm_source=ig_web_copy_link&igsh=MzRlODBiNWFlZA%3D%3D\">covers of songs like Anita Baker’s “Love Rapture”\u003c/a> on Instagram in 2021. The band’s debut album, \u003cem>Is It the Way: Volume I\u003c/em>, was their first time recording original music. Across its eight uplifting tracks, they sing about love and the newfound independence of young adulthood. Since its release, the album has reached over 43,000 people worldwide and opened doors for the group. Last year, they headlined the storied Oakland jazz club Yoshi’s — a big feat for a band with only one member old enough to drink.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/0eRwXzEC6D14SLXu7zFuyp?utm_source=generator\" width=\"100%\" height=\"352\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Working with siblings can be a joyous experience, but there are also challenges. To become MeloDious, Micaiah, Memphis and Matthias had to turn their family bond into a working relationship. They consider themselves independent artists who just happen to comprise a group.\u003c/p>\n\u003cp>When choosing where they would land as a band, they looked at the instruments they played in their childhood. Memphis was initially interested in the piano, but when Micaiah declared it hers, she turned her eyes to the drums and other instruments like the bass, guitar, piano and a little flute. At a rehearsal for their Noise Pop show, Memphis played the bass (typically her brother’s instrument) to help her sister hear all the elements of the music with one band member missing.\u003c/p>\n\u003cfigure id=\"attachment_13972363\" class=\"wp-caption aligncenter\" style=\"max-width: 1875px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13972363\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/melodious-scaled.jpeg\" alt=\"\" width=\"1875\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/melodious-scaled.jpeg 1875w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/melodious-800x1092.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/melodious-1020x1393.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/melodious-160x218.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/melodious-768x1049.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/melodious-1125x1536.jpeg 1125w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/melodious-1500x2048.jpeg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/melodious-1920x2622.jpeg 1920w\" sizes=\"auto, (max-width: 1875px) 100vw, 1875px\">\u003cfigcaption class=\"wp-caption-text\">Micaiah, Memphis and Matthias Dempsey of MeloDious. \u003ccite>(Drake Johnson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Preparing for their March 2 performance, they practiced a medley of funky covers of familiar songs, such as “Fantasy” by Earth, Wind & Fire and “The Way” by Jill Scott, mixed in with their original music.\u003c/p>\n\u003cp>“We are excited to play our first larger set of the year, and explore new, intimate and advanced repertoire for the first time to jazz lovers,” Micaiah said. “And of course, we are beyond elated to interact with new and existing members of our ever-growing MeloDious family.”\u003c/p>\n\u003chr>\n\u003cp>\u003cem>MeloDious performs at SFJAZZ on March 2 for Noise Pop. \u003ca href=\"http://events.noisepop.com/events/2025/3/2/melodious-tickets\">Tickets and details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On a sunny Monday afternoon at the Dempseys’ home in East Oakland, the two eldest daughters, Micaiah, 21, and Memphis, 17, positioned themselves at their instruments, finalizing their setlist for their upcoming SFJAZZ show for the annual \u003ca href=\"https://www.kqed.org/arts/tag/noise-pop\">Noise Pop\u003c/a> festival.\u003c/p>\n\u003cp>“We play music at all hours of the day,” Micaiah said. “If we’re feeling it at 4 in the morning, we’re up at 4 in the morning, playing.”\u003c/p>\n\u003cp>Micaiah, Memphis and their brother, Matthias, make up the jazz-fusion trio \u003ca href=\"https://4melodious.com/\">MeloDious\u003c/a>. The siblings first began learning their instruments in early childhood, with Micaiah on piano, Matthias on bass and Memphis on drums. Nearly nine years ago, they decided they wanted to reach more listeners than just their parents, youngest sister and music therapy cat, Olivia. So MeloDious was born. After years of writing, recording and finalizing their music, the family band made it official in 2023 with their debut album, \u003cem>Is It the Way: Volume I\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13972362\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13972362\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/duo3.jpeg\" alt=\"\" width=\"2000\" height=\"1336\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/duo3.jpeg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/duo3-800x534.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/duo3-1020x681.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/duo3-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/duo3-768x513.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/duo3-1536x1026.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/duo3-1920x1283.jpeg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Memphis and Micaiah Dempsey will perform as a duo for MeloDious’ Noise Pop set. \u003ccite>(Molly McCloskey)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Micaiah recently returned from touring in New York and Los Angeles with Oakland-raised R&B singer \u003ca href=\"https://www.kqed.org/arts/13908331/elujays-bright-rb-emerges-from-two-of-the-hardest-years-of-his-life\">Elujay\u003c/a>. Shortly after, she and Memphis began rehearsals for their March 2 Noise Pop show with guitarist Tyler Murphy and bassist Jonathan Herrera. (Matthias is currently on a break from music and focusing on his internship with the Department of Health and Human Services in Washington D.C.) \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It’s nice to be recognized and respected as musicians, at this point. To be like ‘Hey, we want you guys to come play and close out Noise Pop for us,’” Michiah said. “We had the music, we were stoked.” \u003c/p>\n\u003cp>Like many people, the Dempsey siblings found their way to music through church, where the approach differed from the structure required to master jazz. “In church music, you never have to count,” Memphis said. “You always know where you are in some way because there’s lyrics. And it’s playing instrumental music for the first time, I was like, ‘Oh my goodness, I actually have to count and know where I am.’”\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/ZhfJl6mLPFw'\n title='//www.youtube.com/embed/ZhfJl6mLPFw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Micaiah, Memphis and Matthias come from a musical family. Their grandfather was Tony Newsom, a member of the soul group \u003ca href=\"https://youtu.be/sDllH9Eqd6E?si=dxfQluyYGz_WXC8C\">Ebony Jam Band\u003c/a>; he was an early influence of the siblings, along with greats like Stevie Wonder, Natalie Cole and Michael and Janet Jackson. Jazz came into their lives through the Oaktown Jazz Workshops, a nonprofit that’s been nurturing young instrumentalists for three decades.\u003c/p>\n\u003cp>“MeloDious is extremely young and up-and-coming,” said Justin Esposito, the content, social media and marketing strategist of SFJAZZ. “This is one of our earliest efforts to bring and help cultivate new artists within our SFJAZZ audiences.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>MeloDious first gained traction with \u003ca href=\"https://www.instagram.com/tv/CdFslF-Fmb5/?utm_source=ig_web_copy_link&igsh=MzRlODBiNWFlZA%3D%3D\">covers of songs like Anita Baker’s “Love Rapture”\u003c/a> on Instagram in 2021. The band’s debut album, \u003cem>Is It the Way: Volume I\u003c/em>, was their first time recording original music. Across its eight uplifting tracks, they sing about love and the newfound independence of young adulthood. Since its release, the album has reached over 43,000 people worldwide and opened doors for the group. Last year, they headlined the storied Oakland jazz club Yoshi’s — a big feat for a band with only one member old enough to drink.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/0eRwXzEC6D14SLXu7zFuyp?utm_source=generator\" width=\"100%\" height=\"352\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Working with siblings can be a joyous experience, but there are also challenges. To become MeloDious, Micaiah, Memphis and Matthias had to turn their family bond into a working relationship. They consider themselves independent artists who just happen to comprise a group.\u003c/p>\n\u003cp>When choosing where they would land as a band, they looked at the instruments they played in their childhood. Memphis was initially interested in the piano, but when Micaiah declared it hers, she turned her eyes to the drums and other instruments like the bass, guitar, piano and a little flute. At a rehearsal for their Noise Pop show, Memphis played the bass (typically her brother’s instrument) to help her sister hear all the elements of the music with one band member missing.\u003c/p>\n\u003cfigure id=\"attachment_13972363\" class=\"wp-caption aligncenter\" style=\"max-width: 1875px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13972363\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/melodious-scaled.jpeg\" alt=\"\" width=\"1875\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/melodious-scaled.jpeg 1875w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/melodious-800x1092.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/melodious-1020x1393.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/melodious-160x218.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/melodious-768x1049.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/melodious-1125x1536.jpeg 1125w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/melodious-1500x2048.jpeg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/melodious-1920x2622.jpeg 1920w\" sizes=\"auto, (max-width: 1875px) 100vw, 1875px\">\u003cfigcaption class=\"wp-caption-text\">Micaiah, Memphis and Matthias Dempsey of MeloDious. \u003ccite>(Drake Johnson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Preparing for their March 2 performance, they practiced a medley of funky covers of familiar songs, such as “Fantasy” by Earth, Wind & Fire and “The Way” by Jill Scott, mixed in with their original music.\u003c/p>\n\u003cp>“We are excited to play our first larger set of the year, and explore new, intimate and advanced repertoire for the first time to jazz lovers,” Micaiah said. “And of course, we are beyond elated to interact with new and existing members of our ever-growing MeloDious family.”\u003c/p>\n\u003chr>\n\u003cp>\u003cem>MeloDious performs at SFJAZZ on March 2 for Noise Pop. \u003ca href=\"http://events.noisepop.com/events/2025/3/2/melodious-tickets\">Tickets and details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"slug": "town-strides-oakland-run-club",
"title": "The Hottest New (Run) Club in Oakland Is Town Strides",
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"content": "\u003cp>On a recent Wednesday evening, the sun was setting over the murky waters of Lake Merritt, and geese, ducks and seagulls flocked in abundance. Hundreds of runners assembled: groups of women in trendy work-out sets; parents telling their children to come on; and seasoned athletes in performance gear. After a warm-up and a pep talk, everyone set off to run, walk or trot the 3.4 miles around the jewel of Oakland.\u003c/p>\n\u003cp>This is Oakland’s newest run club, \u003ca href=\"https://www.instagram.com/townstrides/?hl=en\">Town Strides\u003c/a>. “For us, the end goal is to get people outside and active,” says Town Strides co-founder Ashley Hughes. “Also, for Black people to feel comfortable being outside, being active, pushing our bodies more and moving.”\u003c/p>\n\u003cfigure id=\"attachment_13965443\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965443\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240918_TOWNSTRIDES_GC-56-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240918_TOWNSTRIDES_GC-56-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240918_TOWNSTRIDES_GC-56-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240918_TOWNSTRIDES_GC-56-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240918_TOWNSTRIDES_GC-56-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240918_TOWNSTRIDES_GC-56-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240918_TOWNSTRIDES_GC-56-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240918_TOWNSTRIDES_GC-56-KQED-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Runners and walkers gather for a group stretch at Lake Merritt in Oakland on Sept. 18, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Town Strides meets weekly, and the community has grown exponentially since Hughes first began inviting her TikTok and Instagram followers on “Hot Bae Walks” around the lake to make new friends. After a few random run-ins with Aziza Yaropa, an avid runner, the two decided to come together, and Town Strides was born in May 2024. The club recently had its biggest run to date on Sept. 7, when a collaboration with \u003ca href=\"https://www.teamfitnesse.com/\">Black-owned Oakland gym Fitnesse\u003c/a> brought out over 300 runners.\u003c/p>\n\u003cp>“We thought it would be a fun little thing, but we did not expect a turnout like this,” says Yaropa.\u003c/p>\n\u003cfigure id=\"attachment_13965514\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965514\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240918_TownStrides_GC-70_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240918_TownStrides_GC-70_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240918_TownStrides_GC-70_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240918_TownStrides_GC-70_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240918_TownStrides_GC-70_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240918_TownStrides_GC-70_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240918_TownStrides_GC-70_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240918_TownStrides_GC-70_qed-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Town Strides founders Aziza Yaropa, center left, and Ashley Hughes, center right, speak with community members at Calabash in Oakland on Sept. 18, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Town Strides promotes health consciousness, but community is at its core. After sweating it out each week, joggers make their way to local restaurants for a “cool down” where everyone can connect.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In the past year, social media took run clubs to the next level. A simple scroll reveals that run clubs are popping up in nearly every city in the U.S. — and that many of their members are white. But where does everyone else fit in? In San Francisco, there are over 10 run clubs in a city that span seven by seven miles. Yet to Yaropa and Hughes, organized efforts to put sneakers to pavement felt lacking in Oakland.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13932138/esteban-raheem-abdul-raheem-samayoa-pt-2\">Esteban Raheem Abdul Raheem Samoya\u003c/a>, an artist, started running with Town Strides back when its weekly participants numbered at around 40. “I think it’s real special for Oakland,” he says. “When we get together, people don’t always see it as positive, but when you see a group of us running, how much more positive can it get?”\u003c/p>\n\u003cfigure id=\"attachment_13965441\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965441\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240918_TOWNSTRIDES_GC-52-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240918_TOWNSTRIDES_GC-52-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240918_TOWNSTRIDES_GC-52-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240918_TOWNSTRIDES_GC-52-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240918_TOWNSTRIDES_GC-52-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240918_TOWNSTRIDES_GC-52-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240918_TOWNSTRIDES_GC-52-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240918_TOWNSTRIDES_GC-52-KQED-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Esteban Samayoa of Oakland poses for a portrait at Lake Merritt in Oakland on Sept. 18, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That positivity has reached people all over the Bay Area, who now come to Lake Merritt each Wednesday for their weekly trek. Coach Ralph Cooke, 56, and Darnell Turner, 60, were already members of the Black Men Run Club when they decided to also join Town Strides.\u003c/p>\n\u003cp>“I’ve been running for four decades, and a lot of that time, it was like I was the only Black person out there. But I remember the first time I saw Black Men Run, I was like, ‘Oh my God, they’re like a bunch of people who look like me running around the lake,’” Cooke says. “That was important, being part of the community. … I can’t explain it, but it just felt different.”\u003c/p>\n\u003cfigure id=\"attachment_13965444\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965444\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240918_TOWNSTRIDES_GC-57-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240918_TOWNSTRIDES_GC-57-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240918_TOWNSTRIDES_GC-57-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240918_TOWNSTRIDES_GC-57-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240918_TOWNSTRIDES_GC-57-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240918_TOWNSTRIDES_GC-57-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240918_TOWNSTRIDES_GC-57-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240918_TOWNSTRIDES_GC-57-KQED-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Coach Ralph Cooke, 56, left, and Darnell Turner, 60, right, pose for a photo at Lake Merritt in Oakland on Sept. 18, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lake Merritt has long been where Oaklanders go to connect, celebrate and sweat. The \u003ca href=\"https://x.com/amirazizphotos/status/1361500125281984512\">Black Panthers did training drills\u003c/a> there in the ’60s. Today, its annual Juneteenth celebration is the place to be for Black pride. Town Strides is just the latest addition to that long legacy, and welcomes everyone — whether they were born and raised in the Town or recently arrived.\u003c/p>\n\u003cfigure id=\"attachment_13965439\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965439\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240918_TOWNSTRIDES_GC-46-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240918_TOWNSTRIDES_GC-46-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240918_TOWNSTRIDES_GC-46-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240918_TOWNSTRIDES_GC-46-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240918_TOWNSTRIDES_GC-46-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240918_TOWNSTRIDES_GC-46-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240918_TOWNSTRIDES_GC-46-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240918_TOWNSTRIDES_GC-46-KQED-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Ciara James, left, and Brianna Boyd, right, who met at a Town Strides, pose for a photo in Oakland on Sept. 18, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Town Strides is where friendship blossomed for Brianna Boyd, 26, and Ciara James, 24, who recently arrived in Oakland from Texas and Oregon respectively. Finding community in a space centered around fun and fitness helped them adjust to their new city.\u003c/p>\n\u003cp>“Seeing like-minded individuals, especially Black people, all in one space and doing something good for the community,” Boyd says, “and flipping the narrative of Oakland. … We do this every week, and there’s no problem.”\u003c/p>\n\u003cfigure id=\"attachment_13965516\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965516\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240922_GreenDayPinole_GC_-43-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1635\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240922_GreenDayPinole_GC_-43-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240922_GreenDayPinole_GC_-43-800x511.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240922_GreenDayPinole_GC_-43-1020x652.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240922_GreenDayPinole_GC_-43-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240922_GreenDayPinole_GC_-43-768x491.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240922_GreenDayPinole_GC_-43-1536x981.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240922_GreenDayPinole_GC_-43-2048x1308.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240922_GreenDayPinole_GC_-43-1920x1227.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Town Strides runners jog around Lake Merritt in Oakland on Sept. 18, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Town Strides meets at 20th and Harrison Street in Oakland for a community run every Wednesday at 6:30. On Sept. 28, they’ll collaborate with the UC Berkeley women’s basketball team for \u003ca href=\"https://calbears.com/news/2024/8/28/womens-basketball-womens-basketball-hosts-fifth-annual-race-for-change.aspx\">Race for Change\u003c/a>, a benefit for Cal Athletics’ Diversity, Equity, Inclusion, Belonging and Justice office.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On a recent Wednesday evening, the sun was setting over the murky waters of Lake Merritt, and geese, ducks and seagulls flocked in abundance. Hundreds of runners assembled: groups of women in trendy work-out sets; parents telling their children to come on; and seasoned athletes in performance gear. After a warm-up and a pep talk, everyone set off to run, walk or trot the 3.4 miles around the jewel of Oakland.\u003c/p>\n\u003cp>This is Oakland’s newest run club, \u003ca href=\"https://www.instagram.com/townstrides/?hl=en\">Town Strides\u003c/a>. “For us, the end goal is to get people outside and active,” says Town Strides co-founder Ashley Hughes. “Also, for Black people to feel comfortable being outside, being active, pushing our bodies more and moving.”\u003c/p>\n\u003cfigure id=\"attachment_13965443\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965443\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240918_TOWNSTRIDES_GC-56-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240918_TOWNSTRIDES_GC-56-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240918_TOWNSTRIDES_GC-56-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240918_TOWNSTRIDES_GC-56-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240918_TOWNSTRIDES_GC-56-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240918_TOWNSTRIDES_GC-56-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240918_TOWNSTRIDES_GC-56-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240918_TOWNSTRIDES_GC-56-KQED-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Runners and walkers gather for a group stretch at Lake Merritt in Oakland on Sept. 18, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Town Strides meets weekly, and the community has grown exponentially since Hughes first began inviting her TikTok and Instagram followers on “Hot Bae Walks” around the lake to make new friends. After a few random run-ins with Aziza Yaropa, an avid runner, the two decided to come together, and Town Strides was born in May 2024. The club recently had its biggest run to date on Sept. 7, when a collaboration with \u003ca href=\"https://www.teamfitnesse.com/\">Black-owned Oakland gym Fitnesse\u003c/a> brought out over 300 runners.\u003c/p>\n\u003cp>“We thought it would be a fun little thing, but we did not expect a turnout like this,” says Yaropa.\u003c/p>\n\u003cfigure id=\"attachment_13965514\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965514\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240918_TownStrides_GC-70_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240918_TownStrides_GC-70_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240918_TownStrides_GC-70_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240918_TownStrides_GC-70_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240918_TownStrides_GC-70_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240918_TownStrides_GC-70_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240918_TownStrides_GC-70_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240918_TownStrides_GC-70_qed-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Town Strides founders Aziza Yaropa, center left, and Ashley Hughes, center right, speak with community members at Calabash in Oakland on Sept. 18, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Town Strides promotes health consciousness, but community is at its core. After sweating it out each week, joggers make their way to local restaurants for a “cool down” where everyone can connect.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In the past year, social media took run clubs to the next level. A simple scroll reveals that run clubs are popping up in nearly every city in the U.S. — and that many of their members are white. But where does everyone else fit in? In San Francisco, there are over 10 run clubs in a city that span seven by seven miles. Yet to Yaropa and Hughes, organized efforts to put sneakers to pavement felt lacking in Oakland.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13932138/esteban-raheem-abdul-raheem-samayoa-pt-2\">Esteban Raheem Abdul Raheem Samoya\u003c/a>, an artist, started running with Town Strides back when its weekly participants numbered at around 40. “I think it’s real special for Oakland,” he says. “When we get together, people don’t always see it as positive, but when you see a group of us running, how much more positive can it get?”\u003c/p>\n\u003cfigure id=\"attachment_13965441\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965441\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240918_TOWNSTRIDES_GC-52-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240918_TOWNSTRIDES_GC-52-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240918_TOWNSTRIDES_GC-52-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240918_TOWNSTRIDES_GC-52-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240918_TOWNSTRIDES_GC-52-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240918_TOWNSTRIDES_GC-52-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240918_TOWNSTRIDES_GC-52-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240918_TOWNSTRIDES_GC-52-KQED-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Esteban Samayoa of Oakland poses for a portrait at Lake Merritt in Oakland on Sept. 18, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That positivity has reached people all over the Bay Area, who now come to Lake Merritt each Wednesday for their weekly trek. Coach Ralph Cooke, 56, and Darnell Turner, 60, were already members of the Black Men Run Club when they decided to also join Town Strides.\u003c/p>\n\u003cp>“I’ve been running for four decades, and a lot of that time, it was like I was the only Black person out there. But I remember the first time I saw Black Men Run, I was like, ‘Oh my God, they’re like a bunch of people who look like me running around the lake,’” Cooke says. “That was important, being part of the community. … I can’t explain it, but it just felt different.”\u003c/p>\n\u003cfigure id=\"attachment_13965444\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965444\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240918_TOWNSTRIDES_GC-57-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240918_TOWNSTRIDES_GC-57-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240918_TOWNSTRIDES_GC-57-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240918_TOWNSTRIDES_GC-57-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240918_TOWNSTRIDES_GC-57-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240918_TOWNSTRIDES_GC-57-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240918_TOWNSTRIDES_GC-57-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240918_TOWNSTRIDES_GC-57-KQED-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Coach Ralph Cooke, 56, left, and Darnell Turner, 60, right, pose for a photo at Lake Merritt in Oakland on Sept. 18, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lake Merritt has long been where Oaklanders go to connect, celebrate and sweat. The \u003ca href=\"https://x.com/amirazizphotos/status/1361500125281984512\">Black Panthers did training drills\u003c/a> there in the ’60s. Today, its annual Juneteenth celebration is the place to be for Black pride. Town Strides is just the latest addition to that long legacy, and welcomes everyone — whether they were born and raised in the Town or recently arrived.\u003c/p>\n\u003cfigure id=\"attachment_13965439\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965439\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240918_TOWNSTRIDES_GC-46-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240918_TOWNSTRIDES_GC-46-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240918_TOWNSTRIDES_GC-46-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240918_TOWNSTRIDES_GC-46-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240918_TOWNSTRIDES_GC-46-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240918_TOWNSTRIDES_GC-46-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240918_TOWNSTRIDES_GC-46-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240918_TOWNSTRIDES_GC-46-KQED-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Ciara James, left, and Brianna Boyd, right, who met at a Town Strides, pose for a photo in Oakland on Sept. 18, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Town Strides is where friendship blossomed for Brianna Boyd, 26, and Ciara James, 24, who recently arrived in Oakland from Texas and Oregon respectively. Finding community in a space centered around fun and fitness helped them adjust to their new city.\u003c/p>\n\u003cp>“Seeing like-minded individuals, especially Black people, all in one space and doing something good for the community,” Boyd says, “and flipping the narrative of Oakland. … We do this every week, and there’s no problem.”\u003c/p>\n\u003cfigure id=\"attachment_13965516\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965516\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240922_GreenDayPinole_GC_-43-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1635\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240922_GreenDayPinole_GC_-43-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240922_GreenDayPinole_GC_-43-800x511.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240922_GreenDayPinole_GC_-43-1020x652.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240922_GreenDayPinole_GC_-43-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240922_GreenDayPinole_GC_-43-768x491.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240922_GreenDayPinole_GC_-43-1536x981.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240922_GreenDayPinole_GC_-43-2048x1308.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240922_GreenDayPinole_GC_-43-1920x1227.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Town Strides runners jog around Lake Merritt in Oakland on Sept. 18, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Town Strides meets at 20th and Harrison Street in Oakland for a community run every Wednesday at 6:30. On Sept. 28, they’ll collaborate with the UC Berkeley women’s basketball team for \u003ca href=\"https://calbears.com/news/2024/8/28/womens-basketball-womens-basketball-hosts-fifth-annual-race-for-change.aspx\">Race for Change\u003c/a>, a benefit for Cal Athletics’ Diversity, Equity, Inclusion, Belonging and Justice office.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "From the Dorm Room to the Festival Stage: Meet Rising R&B Star MiLES",
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"content": "\u003cp>The college years are often when people shed the skin of their childlike selves and begin the journey into adulthood. New people and experiences come quickly, often miles from home and family. Most people focus on their studies, or parties, or both. \u003c/p>\n\u003cp>MiLES, the 19-year-old Atlanta native currently enrolled at Stanford, chose to do a third thing: make a career for himself as an independent R&B artist. His years of work pay off this weekend, when he performs a Friday set at the Bay Area’s largest music festival, Outside Lands. \u003c/p>\n\u003cp>At Stanford, MiLES is studying electronic engineering. “And I’m a musician, so you would think there’s no crossover,” he says. “But in my last class, I built a guitar.”\u003c/p>\n\u003cp>[aside postID='arts_13956373']Playing Outside Lands is the first step in taking his music career to the next level. “I was surprised myself when I got it,” he says, eager to bring the rest of the world into his dreamy, emotion-filled music, colored by his life in Atlanta before starting his freshman year. \u003c/p>\n\u003cp>“I obviously saw the mecca that we are, and I knew that I was doing something different because I was inspired by different things. I just took it all in stride. It’s like, ‘Yes, and,’” he says. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=r472gZn8at0\u003c/p>\n\u003cp>MiLES’ interest in music began as a child, when, at age 8, he sang in the school choir and took formal piano lessons. Soon, he decided to take matters into his own hands, giving himself piano lessons by going to YouTube University. “I really loved learning Stevie Wonder tutorials,” he says. “Because I feel like once you can play Stevie, you can play anything.” \u003c/p>\n\u003cp>When he entered high school, he wanted to build on that framework for his own musical journey. He got his first job, working at Chick-fil-A, to save enough money to buy guitars, basses and interfaces, all of which he taught himself how to use. \u003c/p>\n\u003cp>Learning these skills helped MiLES make a name for himself in the next generation of R&B artists inspired by people like Frank Ocean and Tyler the Creator. Before starting his freshman year of college, he released his poppy, moody debut single “\u003ca href=\"https://www.youtube.com/watch?v=7DROfFAXe6Q\">Oxygen\u003c/a>,” which chronicles the loss he experienced during the 2020 pandemic. \u003c/p>\n\u003cp>“That song is a time capsule,” he says. “It was able to start a lot of cool things for me. When I think of that song, I feel grateful.” \u003c/p>\n\u003cfigure id=\"attachment_13962098\" class=\"wp-caption aligncenter\" style=\"max-width: 959px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/MiLES.moving.SalimGarcia.jpg\" alt=\"A young Black man in a multicolored striped Guess brand shirt sits on the back of a U-Haul truck\" width=\"959\" height=\"1164\" class=\"size-full wp-image-13962098\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/MiLES.moving.SalimGarcia.jpg 959w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/MiLES.moving.SalimGarcia-800x971.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/MiLES.moving.SalimGarcia-160x194.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/MiLES.moving.SalimGarcia-768x932.jpg 768w\" sizes=\"auto, (max-width: 959px) 100vw, 959px\">\u003cfigcaption class=\"wp-caption-text\">MiLES on the set of his moving-day music video for ‘Oxygen.’ \u003ccite>(Salim Garcia)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In a \u003ca href=\"https://www.forbes.com/sites/kennethjwilliamsjr/2023/03/29/from-inspiration-to-aspiration-miles-journey-in-pursuing-musical-excellence/\">\u003cem>Forbes\u003c/em> interview\u003c/a> from 2023, MiLES referred to his music as a way to expand the range of emotions that Black men are allowed to express. Everyone has to go through a moment of loss, has moments which cause them to look at life in new ways.\u003c/p>\n\u003cp>In January of this year, MiLES helped fans see his life anew when he released his \u003cem>Life Thru New Lens\u003c/em> EP, and in May released a live EP of the same songs, performed in his dorm room with East Palo Alto’s coldwaterchris and Vallejo’s Hokage Simon. \u003c/p>\n\u003cp>https://www.youtube.com/watch?v=KEGp9JLbAWc\u003c/p>\n\u003cp>“I saw it as a way to literally invite people into my home and give them those songs as real and unfiltered as possible,” MiLES says. “Everyone in the audience were friends that I’d made at Stanford, and to see everyone there, all in one place, was a really high moment in my career and in my life. The goal is to make more moments like that.”\u003c/p>\n\u003cp>Before summer ends, MiLES will head out on his second tour opening for Chicago artist SEB. As he continues his academic and musical careers, working toward a degree in electrical engineering while growing as an artist, he plans to continue sharing the world he’s created with others.\u003c/p>\n\u003cp>“I’m an artist that’s ever-changing,” MiLES says. “I’m taking in the world as I see it, and wherever that’s taking me, I’m open to it, and I’m excited for it.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>MiLES performs on Friday, Aug. 9, at the Sutro Stage at Outside Lands in San Francisco. \u003ca href=\"https://sfoutsidelands.com/\">Details here\u003c/a>.\u003c/em> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The college years are often when people shed the skin of their childlike selves and begin the journey into adulthood. New people and experiences come quickly, often miles from home and family. Most people focus on their studies, or parties, or both. \u003c/p>\n\u003cp>MiLES, the 19-year-old Atlanta native currently enrolled at Stanford, chose to do a third thing: make a career for himself as an independent R&B artist. His years of work pay off this weekend, when he performs a Friday set at the Bay Area’s largest music festival, Outside Lands. \u003c/p>\n\u003cp>At Stanford, MiLES is studying electronic engineering. “And I’m a musician, so you would think there’s no crossover,” he says. “But in my last class, I built a guitar.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Playing Outside Lands is the first step in taking his music career to the next level. “I was surprised myself when I got it,” he says, eager to bring the rest of the world into his dreamy, emotion-filled music, colored by his life in Atlanta before starting his freshman year. \u003c/p>\n\u003cp>“I obviously saw the mecca that we are, and I knew that I was doing something different because I was inspired by different things. I just took it all in stride. It’s like, ‘Yes, and,’” he says. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/r472gZn8at0'\n title='//www.youtube.com/embed/r472gZn8at0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>MiLES’ interest in music began as a child, when, at age 8, he sang in the school choir and took formal piano lessons. Soon, he decided to take matters into his own hands, giving himself piano lessons by going to YouTube University. “I really loved learning Stevie Wonder tutorials,” he says. “Because I feel like once you can play Stevie, you can play anything.” \u003c/p>\n\u003cp>When he entered high school, he wanted to build on that framework for his own musical journey. He got his first job, working at Chick-fil-A, to save enough money to buy guitars, basses and interfaces, all of which he taught himself how to use. \u003c/p>\n\u003cp>Learning these skills helped MiLES make a name for himself in the next generation of R&B artists inspired by people like Frank Ocean and Tyler the Creator. Before starting his freshman year of college, he released his poppy, moody debut single “\u003ca href=\"https://www.youtube.com/watch?v=7DROfFAXe6Q\">Oxygen\u003c/a>,” which chronicles the loss he experienced during the 2020 pandemic. \u003c/p>\n\u003cp>“That song is a time capsule,” he says. “It was able to start a lot of cool things for me. When I think of that song, I feel grateful.” \u003c/p>\n\u003cfigure id=\"attachment_13962098\" class=\"wp-caption aligncenter\" style=\"max-width: 959px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/MiLES.moving.SalimGarcia.jpg\" alt=\"A young Black man in a multicolored striped Guess brand shirt sits on the back of a U-Haul truck\" width=\"959\" height=\"1164\" class=\"size-full wp-image-13962098\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/MiLES.moving.SalimGarcia.jpg 959w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/MiLES.moving.SalimGarcia-800x971.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/MiLES.moving.SalimGarcia-160x194.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/MiLES.moving.SalimGarcia-768x932.jpg 768w\" sizes=\"auto, (max-width: 959px) 100vw, 959px\">\u003cfigcaption class=\"wp-caption-text\">MiLES on the set of his moving-day music video for ‘Oxygen.’ \u003ccite>(Salim Garcia)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In a \u003ca href=\"https://www.forbes.com/sites/kennethjwilliamsjr/2023/03/29/from-inspiration-to-aspiration-miles-journey-in-pursuing-musical-excellence/\">\u003cem>Forbes\u003c/em> interview\u003c/a> from 2023, MiLES referred to his music as a way to expand the range of emotions that Black men are allowed to express. Everyone has to go through a moment of loss, has moments which cause them to look at life in new ways.\u003c/p>\n\u003cp>In January of this year, MiLES helped fans see his life anew when he released his \u003cem>Life Thru New Lens\u003c/em> EP, and in May released a live EP of the same songs, performed in his dorm room with East Palo Alto’s coldwaterchris and Vallejo’s Hokage Simon. \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/KEGp9JLbAWc'\n title='//www.youtube.com/embed/KEGp9JLbAWc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“I saw it as a way to literally invite people into my home and give them those songs as real and unfiltered as possible,” MiLES says. “Everyone in the audience were friends that I’d made at Stanford, and to see everyone there, all in one place, was a really high moment in my career and in my life. The goal is to make more moments like that.”\u003c/p>\n\u003cp>Before summer ends, MiLES will head out on his second tour opening for Chicago artist SEB. As he continues his academic and musical careers, working toward a degree in electrical engineering while growing as an artist, he plans to continue sharing the world he’s created with others.\u003c/p>\n\u003cp>“I’m an artist that’s ever-changing,” MiLES says. “I’m taking in the world as I see it, and wherever that’s taking me, I’m open to it, and I’m excited for it.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>MiLES performs on Friday, Aug. 9, at the Sutro Stage at Outside Lands in San Francisco. \u003ca href=\"https://sfoutsidelands.com/\">Details here\u003c/a>.\u003c/em> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Not many people start their music careers at three years old, but Sacramento artist \u003ca href=\"https://www.instagram.com/natecurry_/?hl=en\">Nate Curry\u003c/a> is one of those few. His father was part of the ’90s rap group \u003ca href=\"https://open.spotify.com/artist/3bjlavnEmvheUS5aWw3cAm?autoplay=true\">The Cuf\u003c/a>, so it didn’t take Curry long to figure out what he wanted to do when he grew up. “I would just do shows with my dad,” Curry says. “I would jump on stage with their group.”\u003c/p>\n\u003cp>Now, 27 years later, he is living his childhood dream. After getting noticed for his 2017 singles “\u003ca href=\"https://youtu.be/-EdA6-W_joY?si=0fnw1ldE0f52jUtQ\">Cold Shoulder\u003c/a>” and “\u003ca href=\"https://youtu.be/0n8cbJ5_LNA?si=KtaWaKYxlKH9B1x-\">Temporary Fix\u003c/a>,” Curry got his first taste of the national spotlight on a 2019 tour with fellow Sacramento artist Hobo Johnson. In 2023, Curry released \u003ca href=\"https://open.spotify.com/album/5QroxHPF8n9MKWNCRC13Dv\">\u003cem>Tight Knit\u003c/em>\u003c/a>, a 12-minute R&B project that compares an intense love connection to the stitches of his signature purple beanie. Curry says he’s arrived at a newfound clarity and mindfulness in creating, which has opened up new opportunities.\u003c/p>\n\u003cp>“I’m just where the love is,” Curry says. “If there happens to be music, then we’re going.”\u003c/p>\n\u003cp>https://youtu.be/0n8cbJ5_LNA?si=KtaWaKYxlKH9B1x-\u003c/p>\n\u003cp>Curry was slated to perform at Sol Blume, one of the West Coast’s biggest R&B festivals. Unfortunately, \u003ca href=\"https://www.kqed.org/arts/13956315/sol-blume-festival-postponed-until-2025\">the event was delayed from May 2024 to August 2025\u003c/a>, but Curry hasn’t lost momentum. On July 19, he’ll take the stage with Kool John at \u003ca href=\"https://www.godowntownsac.com/events/signature-events/concerts-in-the-park/\">Sacramento’s Concerts in the Park series\u003c/a>, which spotlights other local artists including Igwe Aka and DJ Shino Smoke.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Curry’s dad, the producer \u003ca href=\"https://www.instagram.com/sbvce\">SBVCE\u003c/a> (formerly N8 the Gr8), introduced him to the music world and helped his son hone his sound. Curry evolved from rapping like a “real hip-hop head” to singing airy, introspective, 808-heavy R&B that puts a new spin on his traditional roots. This foundation gave him confidence, and eventually, Curry decided to branch out on his own.\u003c/p>\n\u003cp>“I got to a point where I wanted to see what I could do as a man for myself and try some things,” he says.\u003c/p>\n\u003cp>https://youtu.be/wrQTByrJAYE?si=W2aqlh9cxZdUM3or\u003c/p>\n\u003cp>His new track, “Nah G,” is an anthemic single that was made over a FaceTime call. The song pushes the idea of Curry being himself to the fullest, realizing his career is more about the journey than the destination. On the bouncy track, reminiscent of a video game soundtrack, he playfully says “no” to people in 14 different ways.\u003c/p>\n\u003cp>Curry has collaborated extensively with artists from the Bay Area, including Pinole producer and HBK member P-Lo, who appears on “Knock It” from Curry’s 2022 \u003cem>By Design\u003c/em> album. “Through P-Lo, I met so many people. He has been such a great fool,” Curry says. “He’s always recommending me somewhere. He’s always showed full love and put me with the people that lined up with my wave.”\u003c/p>\n\u003cp>https://youtu.be/byYsxBbnhvo?si=XgqOTtBeSyN9zT9W\u003c/p>\n\u003cp>Curry and P-Lo’s collaborations show the unity between Bay Area and Sacramento artists. Sacramento artists regularly venture down I-80 to the Bay Area for inspiration and connections; meanwhile, many Bay Area-raised artists have relocated to Sac for (slightly) more affordable housing. The two regions have a symbiotic relationship that finds its way into the music and beyond.\u003c/p>\n\u003cp>“It’s Northern Cali,” says Curry. “It’s up.”\u003c/p>\n\u003cp>That statewide creative exchange extends to Los Angeles as well. Through P-Lo, Curry met the LA producer \u003ca href=\"https://www.instagram.com/cassiolopes/\">Cassio Lopes\u003c/a>, who produced and shot the video for “Nah G” and worked closely with P-Lo for his album, \u003cem>Stunna\u003c/em>.\u003c/p>\n\u003cp>“The moment I met Nate, it felt like I’ve known him my entire life,” Lopes said.\u003c/p>\n\u003cp>https://youtu.be/H4xkyLiIc48?si=X__QNuKu2TpBfrtD\u003c/p>\n\u003cp>From that initial meeting, Lopes and Curry became fast friends and frequent collaborators. As Curry continues his journey and expands his artistry, he will return to Cesar Chavez Park on July 19 for a full circle moment. This will be the first time Curry and Lopes perform on stage together. Curry hopes it’ll be a “beautiful wave.”\u003c/p>\n\u003cp>“I absolutely can’t wait for that,” he exclaims. “The energy is going to be up.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>More details about \u003ca href=\"https://www.godowntownsac.com/events/signature-events/concerts-in-the-park/\">Sacramento’s Concerts In the Park series are here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Not many people start their music careers at three years old, but Sacramento artist \u003ca href=\"https://www.instagram.com/natecurry_/?hl=en\">Nate Curry\u003c/a> is one of those few. His father was part of the ’90s rap group \u003ca href=\"https://open.spotify.com/artist/3bjlavnEmvheUS5aWw3cAm?autoplay=true\">The Cuf\u003c/a>, so it didn’t take Curry long to figure out what he wanted to do when he grew up. “I would just do shows with my dad,” Curry says. “I would jump on stage with their group.”\u003c/p>\n\u003cp>Now, 27 years later, he is living his childhood dream. After getting noticed for his 2017 singles “\u003ca href=\"https://youtu.be/-EdA6-W_joY?si=0fnw1ldE0f52jUtQ\">Cold Shoulder\u003c/a>” and “\u003ca href=\"https://youtu.be/0n8cbJ5_LNA?si=KtaWaKYxlKH9B1x-\">Temporary Fix\u003c/a>,” Curry got his first taste of the national spotlight on a 2019 tour with fellow Sacramento artist Hobo Johnson. In 2023, Curry released \u003ca href=\"https://open.spotify.com/album/5QroxHPF8n9MKWNCRC13Dv\">\u003cem>Tight Knit\u003c/em>\u003c/a>, a 12-minute R&B project that compares an intense love connection to the stitches of his signature purple beanie. Curry says he’s arrived at a newfound clarity and mindfulness in creating, which has opened up new opportunities.\u003c/p>\n\u003cp>“I’m just where the love is,” Curry says. “If there happens to be music, then we’re going.”\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/0n8cbJ5_LNA'\n title='//www.youtube.com/embed/0n8cbJ5_LNA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Curry was slated to perform at Sol Blume, one of the West Coast’s biggest R&B festivals. Unfortunately, \u003ca href=\"https://www.kqed.org/arts/13956315/sol-blume-festival-postponed-until-2025\">the event was delayed from May 2024 to August 2025\u003c/a>, but Curry hasn’t lost momentum. On July 19, he’ll take the stage with Kool John at \u003ca href=\"https://www.godowntownsac.com/events/signature-events/concerts-in-the-park/\">Sacramento’s Concerts in the Park series\u003c/a>, which spotlights other local artists including Igwe Aka and DJ Shino Smoke.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Curry’s dad, the producer \u003ca href=\"https://www.instagram.com/sbvce\">SBVCE\u003c/a> (formerly N8 the Gr8), introduced him to the music world and helped his son hone his sound. Curry evolved from rapping like a “real hip-hop head” to singing airy, introspective, 808-heavy R&B that puts a new spin on his traditional roots. This foundation gave him confidence, and eventually, Curry decided to branch out on his own.\u003c/p>\n\u003cp>“I got to a point where I wanted to see what I could do as a man for myself and try some things,” he says.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/wrQTByrJAYE'\n title='//www.youtube.com/embed/wrQTByrJAYE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>His new track, “Nah G,” is an anthemic single that was made over a FaceTime call. The song pushes the idea of Curry being himself to the fullest, realizing his career is more about the journey than the destination. On the bouncy track, reminiscent of a video game soundtrack, he playfully says “no” to people in 14 different ways.\u003c/p>\n\u003cp>Curry has collaborated extensively with artists from the Bay Area, including Pinole producer and HBK member P-Lo, who appears on “Knock It” from Curry’s 2022 \u003cem>By Design\u003c/em> album. “Through P-Lo, I met so many people. He has been such a great fool,” Curry says. “He’s always recommending me somewhere. He’s always showed full love and put me with the people that lined up with my wave.”\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/byYsxBbnhvo'\n title='//www.youtube.com/embed/byYsxBbnhvo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Curry and P-Lo’s collaborations show the unity between Bay Area and Sacramento artists. Sacramento artists regularly venture down I-80 to the Bay Area for inspiration and connections; meanwhile, many Bay Area-raised artists have relocated to Sac for (slightly) more affordable housing. The two regions have a symbiotic relationship that finds its way into the music and beyond.\u003c/p>\n\u003cp>“It’s Northern Cali,” says Curry. “It’s up.”\u003c/p>\n\u003cp>That statewide creative exchange extends to Los Angeles as well. Through P-Lo, Curry met the LA producer \u003ca href=\"https://www.instagram.com/cassiolopes/\">Cassio Lopes\u003c/a>, who produced and shot the video for “Nah G” and worked closely with P-Lo for his album, \u003cem>Stunna\u003c/em>.\u003c/p>\n\u003cp>“The moment I met Nate, it felt like I’ve known him my entire life,” Lopes 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/H4xkyLiIc48'\n title='//www.youtube.com/embed/H4xkyLiIc48'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>From that initial meeting, Lopes and Curry became fast friends and frequent collaborators. As Curry continues his journey and expands his artistry, he will return to Cesar Chavez Park on July 19 for a full circle moment. This will be the first time Curry and Lopes perform on stage together. Curry hopes it’ll be a “beautiful wave.”\u003c/p>\n\u003cp>“I absolutely can’t wait for that,” he exclaims. “The energy is going to be up.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>More details about \u003ca href=\"https://www.godowntownsac.com/events/signature-events/concerts-in-the-park/\">Sacramento’s Concerts In the Park series are here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "SF Camerawork Show Honors the Relationship Between Black Cowboys and Their Horses",
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"content": "\u003cp>When the Great Migration led Black families to venture north and west with their eyes on new horizons, many made that journey while maintaining the traditions of their Southern roots, bringing recipes, lessons and practices into new homes. \u003c/p>\n\u003cp>Richmond artist \u003ca href=\"https://charleshlee.com/\">Charles Lee\u003c/a> can trace his own family history back to Southern states like Texas and Louisiana, and those ties now inform his practice. His first solo exhibition, \u003cem>\u003ca href=\"https://sfcamerawork.org/charles-lee_sweat-dirt\">sweat + dirt\u003c/a>\u003c/em>, on view through Feb. 3, 2024 at \u003ca href=\"https://sfcamerawork.org/\">SF Camerawork\u003c/a>, includes black-and-white photographs and installations — including a horse saddle, rocking chair and bales of hay. \u003c/p>\n\u003cp>The show transports viewers to the outskirts of big cities, in places like Jennings and Lafayette, Louisiana, where Lee centers the relationships between people and their horses, and explores how the traditions of farmwork have persisted through generations for Black Americans. Lee says he’s interested in the ancestral connection between humans and “this very majestic and important animal.” \u003c/p>\n\u003cp>“Even before this job came to the Americas, we were herders,” Lee says, referencing \u003cem>On Brand\u003c/em>, a large-scale chemigram piece, which also features a branding iron hanging from the gallery ceiling. “Our ancestors were herders, and they didn’t break the cattle or break the horses. It was an agreement that they fostered with this giant animal. Whereas Western ways of training an animal is to break it physically and use violence in order to get it to submit.”\u003c/p>\n\u003cfigure id=\"attachment_13939298\" class=\"wp-caption aligncenter\" style=\"max-width: 1218px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/True-Grit.jpg\" alt=\"Black-and-white photograph of a Black man on horseback, in profile\" width=\"1218\" height=\"1420\" class=\"size-full wp-image-13939298\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/True-Grit.jpg 1218w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/True-Grit-800x933.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/True-Grit-1020x1189.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/True-Grit-160x187.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/True-Grit-768x895.jpg 768w\" sizes=\"auto, (max-width: 1218px) 100vw, 1218px\">\u003cfigcaption class=\"wp-caption-text\">Charles Lee’s ‘True Grit,’ a gelatin silver print on view in ‘sweat + dirt.’ \u003ccite>(Courtesy the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>sweat + dirt\u003c/em> is an extension of Lee’s 2023 MFA thesis show at California College of the Arts, which, in turn, was part of a project he began in 2016 called \u003cem>BEEN HERE\u003c/em>. Seven years after he got the initial idea for a photo series from his cousin, Lee has incorporated videos and found objects into the project. “I had always desired to work with objects,” he says. “So originally those pieces were extensions of the photographic practice that brought it more into an installation piece.” \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Lee continues to find new ways to approach the series, recombining earlier work from \u003cem>BEEN HERE\u003c/em> with more recent images made during visits with family in Louisiana. It’s been important for him — and for this project — to trace the migratory paths his family followed on their way to different corners of the Bay Area. \u003c/p>\n\u003cp>“My mom was born in Lafayette, Louisiana and my dad was born in Houston, Texas,” he says about his family’s journey to California. “My mom’s parents were definitely more blue-collar. They grew up on ranches and grew up in the country in Jennings, Louisiana. So when they came here, the culture came with them.” \u003c/p>\n\u003cp>Horse culture has evolved as people have migrated, and it looks different all over the state of California. In Oakland, at Lake Merritt, it’s not uncommon to see people on horses in the middle of a crowd right alongside other, more modern, modes of conveyance, like dirt bikes and bicycles. “Even though we’re not there anymore, there’s still things that we practice over here in this urban environment,” Lee says. Oftentimes, he points out, “we don’t even know the root.” \u003c/p>\n\u003cfigure id=\"attachment_13939300\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Charles-Lee-017_2000.jpg\" alt=\"Black and white photo prints arranged in loose salon style unframed on two white gallery walls\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13939300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Charles-Lee-017_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Charles-Lee-017_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Charles-Lee-017_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Charles-Lee-017_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Charles-Lee-017_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Charles-Lee-017_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Charles-Lee-017_2000-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘sweat + dirt’ at SF Camerawork. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Two walls at SF Camerawork display a constellation of variously sized prints, showing people on horses and closeups of horses, all in richly high-contrast black and white. In preparing for his show, Lee took the exhibition title, \u003cem>sweat + dirt\u003c/em>, to heart. All of the photos presented at SF Camerawork were developed in a dark room, an intentional and labor-intensive homage to the working people in his pictures. \u003c/p>\n\u003cp>Lee points out that when images of the cowboy in America are presented, Black people are often left out of the picture. His work places Black cowboys and cowgirls both in front of his lens and in the forefront of his work. What began as a reaction to a missing narrative in the cowboy experience is now a way to create a living document of that experience. \u003c/p>\n\u003cp>Lee is also expanding beyond the edges of America, working with the Mascogos people in Nacimiento de los Negros, Mexico, a town name which translates to “birth of the Blacks.” \u003c/p>\n\u003cp>“This project is in no way done,” Lee says, thinking about his next steps. “I’m excited about that new direction of showing another nuance and another layer to this story that brings it south of the border.” \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://sfcamerawork.org/charles-lee_sweat-dirt\">sweat + dirt\u003c/a>’ is on view at SF Camerawork (Fort Mason Center, 2 Marina Blvd, Building A) through Feb. 3, 2024.\u003c/i>\u003c/p>\n\n",
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"title": "Charles Lee at SF Camerawork: Black Cowboys and Their Horses | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When the Great Migration led Black families to venture north and west with their eyes on new horizons, many made that journey while maintaining the traditions of their Southern roots, bringing recipes, lessons and practices into new homes. \u003c/p>\n\u003cp>Richmond artist \u003ca href=\"https://charleshlee.com/\">Charles Lee\u003c/a> can trace his own family history back to Southern states like Texas and Louisiana, and those ties now inform his practice. His first solo exhibition, \u003cem>\u003ca href=\"https://sfcamerawork.org/charles-lee_sweat-dirt\">sweat + dirt\u003c/a>\u003c/em>, on view through Feb. 3, 2024 at \u003ca href=\"https://sfcamerawork.org/\">SF Camerawork\u003c/a>, includes black-and-white photographs and installations — including a horse saddle, rocking chair and bales of hay. \u003c/p>\n\u003cp>The show transports viewers to the outskirts of big cities, in places like Jennings and Lafayette, Louisiana, where Lee centers the relationships between people and their horses, and explores how the traditions of farmwork have persisted through generations for Black Americans. Lee says he’s interested in the ancestral connection between humans and “this very majestic and important animal.” \u003c/p>\n\u003cp>“Even before this job came to the Americas, we were herders,” Lee says, referencing \u003cem>On Brand\u003c/em>, a large-scale chemigram piece, which also features a branding iron hanging from the gallery ceiling. “Our ancestors were herders, and they didn’t break the cattle or break the horses. It was an agreement that they fostered with this giant animal. Whereas Western ways of training an animal is to break it physically and use violence in order to get it to submit.”\u003c/p>\n\u003cfigure id=\"attachment_13939298\" class=\"wp-caption aligncenter\" style=\"max-width: 1218px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/True-Grit.jpg\" alt=\"Black-and-white photograph of a Black man on horseback, in profile\" width=\"1218\" height=\"1420\" class=\"size-full wp-image-13939298\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/True-Grit.jpg 1218w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/True-Grit-800x933.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/True-Grit-1020x1189.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/True-Grit-160x187.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/True-Grit-768x895.jpg 768w\" sizes=\"auto, (max-width: 1218px) 100vw, 1218px\">\u003cfigcaption class=\"wp-caption-text\">Charles Lee’s ‘True Grit,’ a gelatin silver print on view in ‘sweat + dirt.’ \u003ccite>(Courtesy the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>sweat + dirt\u003c/em> is an extension of Lee’s 2023 MFA thesis show at California College of the Arts, which, in turn, was part of a project he began in 2016 called \u003cem>BEEN HERE\u003c/em>. Seven years after he got the initial idea for a photo series from his cousin, Lee has incorporated videos and found objects into the project. “I had always desired to work with objects,” he says. “So originally those pieces were extensions of the photographic practice that brought it more into an installation piece.” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Lee continues to find new ways to approach the series, recombining earlier work from \u003cem>BEEN HERE\u003c/em> with more recent images made during visits with family in Louisiana. It’s been important for him — and for this project — to trace the migratory paths his family followed on their way to different corners of the Bay Area. \u003c/p>\n\u003cp>“My mom was born in Lafayette, Louisiana and my dad was born in Houston, Texas,” he says about his family’s journey to California. “My mom’s parents were definitely more blue-collar. They grew up on ranches and grew up in the country in Jennings, Louisiana. So when they came here, the culture came with them.” \u003c/p>\n\u003cp>Horse culture has evolved as people have migrated, and it looks different all over the state of California. In Oakland, at Lake Merritt, it’s not uncommon to see people on horses in the middle of a crowd right alongside other, more modern, modes of conveyance, like dirt bikes and bicycles. “Even though we’re not there anymore, there’s still things that we practice over here in this urban environment,” Lee says. Oftentimes, he points out, “we don’t even know the root.” \u003c/p>\n\u003cfigure id=\"attachment_13939300\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Charles-Lee-017_2000.jpg\" alt=\"Black and white photo prints arranged in loose salon style unframed on two white gallery walls\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13939300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Charles-Lee-017_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Charles-Lee-017_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Charles-Lee-017_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Charles-Lee-017_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Charles-Lee-017_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Charles-Lee-017_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Charles-Lee-017_2000-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘sweat + dirt’ at SF Camerawork. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Two walls at SF Camerawork display a constellation of variously sized prints, showing people on horses and closeups of horses, all in richly high-contrast black and white. In preparing for his show, Lee took the exhibition title, \u003cem>sweat + dirt\u003c/em>, to heart. All of the photos presented at SF Camerawork were developed in a dark room, an intentional and labor-intensive homage to the working people in his pictures. \u003c/p>\n\u003cp>Lee points out that when images of the cowboy in America are presented, Black people are often left out of the picture. His work places Black cowboys and cowgirls both in front of his lens and in the forefront of his work. What began as a reaction to a missing narrative in the cowboy experience is now a way to create a living document of that experience. \u003c/p>\n\u003cp>Lee is also expanding beyond the edges of America, working with the Mascogos people in Nacimiento de los Negros, Mexico, a town name which translates to “birth of the Blacks.” \u003c/p>\n\u003cp>“This project is in no way done,” Lee says, thinking about his next steps. “I’m excited about that new direction of showing another nuance and another layer to this story that brings it south of the border.” \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://sfcamerawork.org/charles-lee_sweat-dirt\">sweat + dirt\u003c/a>’ is on view at SF Camerawork (Fort Mason Center, 2 Marina Blvd, Building A) through Feb. 3, 2024.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "esteban-raheem-abdul-raheem-samayoa-pt-2",
"title": "Oakland Artist Esteban Samayoa Makes an Ambitious Solo Debut at pt.2",
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"headTitle": "Oakland Artist Esteban Samayoa Makes an Ambitious Solo Debut at pt.2 | KQED",
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"content": "\u003cp>Above the pt.2 gallery space on Oakland’s Webster Street, artists of all mediums work away in private studios. While musicians like Ovrkast and Demahjiae make new sounds, artists like Landon Pointer and \u003ca href=\"https://www.instagram.com/wulffvnky/?hl=en\">Esteban Raheem Abdul Raheem Samayoa\u003c/a> prepare art for upcoming shows.\u003c/p>\n\u003cp>On one side of Samayoa’s studio, big, mural-like canvases layered with black charcoal and white airbrush paint stand as tall as the artist. His first solo show in a year, \u003cem>\u003ca href=\"https://www.part2gallery.com/blog/aint/esteban\">Ain’t No Dogs In Heaven\u003c/a>\u003c/em>, opens downstairs at pt.2 on Aug. 5 in three different rooms that represent three distinct chapters of his life: Pops, Esteban Samayoa and Raheem Abdul Raheem.\u003c/p>\n\u003cfigure id=\"attachment_13932173\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13932173\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Samayoa_portrait_800.jpg\" alt=\"Young man in work apron and black skullcap sits with hands clasped in front of a blank canvas\" width=\"800\" height=\"1196\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Samayoa_portrait_800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Samayoa_portrait_800-160x239.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Samayoa_portrait_800-768x1148.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Esteban Samayoa in his studio. \u003ccite>(Photo by Vanessa Vigil)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The show will start with black-and-white imagery from Samayoa’s childhood in Sacramento, the next room will reference the inspiration he found in his Latino culture, and the last space will document his journey to the Islamic faith. It’s an ambitious presentation for the 29-year-old artist, representing months of work and spanning over a dozen paintings and sculptures, many of them large-scale.\u003c/p>\n\u003cp>Samayoa, who grew up in a Mexican and Guatemalan household, and attended mosque with friends and neighbors, was always drawn to art. His mom told him he was drawing at the age of three — and not the normal stick figures with a sun in the corner of the page. “She was like, ‘You understood the concept of how a figure looks like, how people look, how cars look. And you were drawing that at a young age,’” he says. “That has always stuck with me.”\u003c/p>\n\u003cp>Imagery from his Sacramento days shows up throughout his work. Dogs are a constant motif; some of his first drawings depicted \u003ca href=\"https://metro-goldwyn-mayer-cartoons.fandom.com/wiki/Slick_Wolf\">Slick Wolf\u003c/a> from the old Tex Avery cartoons. Like his father and grandfather — who drove classic Cadillacs — the wolf drove nice cars. As he got older, Samayoa saw himself in dogs like the Doberman and rottweiler breeds, which have connotations of being dangerous. With tattoos on his face and hands, people can initially judge him as a threat, but just like the dogs he grew up with, he’s the opposite: a soft-spoken, kind person.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Samayoa moved to Oakland from Sacramento in 2018, taking the leap to being a full-time artist with the hopes of making a living off his art. That two-hour distance from home created the space to grow his confidence in both himself and his work. Showing at places like \u003ca href=\"https://www.swimgallery.com/exhibitions\">Swim Gallery\u003c/a> and \u003ca href=\"https://goodmothergallery.com/artists/50-esteban-samayoa/\">Good Mother Gallery\u003c/a>, he began to build an artistic network. He was gaining momentum — and then the pandemic hit.\u003c/p>\n\u003cp>For many, including Samayoa, the pandemic meant more time at home, but also more time to dedicate to his craft. And that extra $600 Gavin Newsom was giving out was unmatched. Samayoa used his time and money to further develop his “Pops”-era style: airbrushed black-and-white imagery that looks like it could live on a big T-shirt back in the early 2000s.\u003c/p>\n\u003cfigure id=\"attachment_13932175\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13932175\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/PT230112-Samayoa-02-02_COVER.jpg\" alt=\"Complex black-and-white painting with airbrushed figures, dogs, teeth and chain-link fence\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/PT230112-Samayoa-02-02_COVER.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/PT230112-Samayoa-02-02_COVER-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/PT230112-Samayoa-02-02_COVER-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/PT230112-Samayoa-02-02_COVER-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/PT230112-Samayoa-02-02_COVER-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/PT230112-Samayoa-02-02_COVER-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/PT230112-Samayoa-02-02_COVER-1920x1440.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Esteban Raheem Abdul Raheem Samayoa, ‘All in the Family,’ 2023; Acrylic on canvas, 72 x 84 inches. \u003ccite>(Courtesy of pt.2)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When he works with charcoal on raw canvas surfaces, Samayoa’s labor is evident. “It’s kind of painterly because I lay it on pretty thick, and I have to blend it with a rag or paper towel to really get it in the fibers of the cloth,” he says. “I knew I was a natural with charcoal, and I just ran with that.”\u003c/p>\n\u003cp>That assurance is hard-won. Though his shows at Good Mother and Swim Gallery went well, he sold nothing out of a later group show at pt.2. It was a blow to his confidence as an artist, and he took a step back from showing his work.\u003c/p>\n\u003cp>“I was like, ‘Yo, maybe I’m not who I thought I was right now,’” he says. “But at the same time, I’m like, ‘Oh, every artist goes through this.’ I really need to sit down and focus on my practice and what’s important.”\u003c/p>\n\u003cp>Taking that time to recenter, he saw that he wanted to tell his audiences a more complete story of his life. In the “Esteban” section of \u003cem>Ain’t No Dogs In Heaven\u003c/em>, his oil and oil pastel paintings reflect on his Mexican and Guatemalan background — and show him branching out from black and white for the first time. “These color works, it’s kind of me just exploring my heritage from a new perspective,” he says. In the show’s final section, made up of cast prayer rugs and other installation elements, audiences will get a sense of where he is now, after his conversation to Islam.\u003c/p>\n\u003cfigure id=\"attachment_13932180\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13932180\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/es_sml_dual_dog_200.jpg\" alt=\"Vertical painting in reds and browns of two dogs' faces overlapping\" width=\"2000\" height=\"2500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/es_sml_dual_dog_200.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/es_sml_dual_dog_200-800x1000.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/es_sml_dual_dog_200-1020x1275.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/es_sml_dual_dog_200-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/es_sml_dual_dog_200-768x960.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/es_sml_dual_dog_200-1229x1536.jpg 1229w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/es_sml_dual_dog_200-1638x2048.jpg 1638w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/es_sml_dual_dog_200-1920x2400.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Esteban Samayoa, ‘Dos Peritos (For the dogs),’ 2023; Oil, oil pastel on canvas, 26 x 20 inches. \u003ccite>(Courtesy of pt.2)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Moving through the show, Samayoa’s artworks will lead viewers through both the constants of his life and the different stages of his experiences: dealing with the realities of having two absent parents, his love for dogs, the cars he saw his dad drive, and his new sense of self as Raheem Abdul Raheem.\u003c/p>\n\u003cp>At this point, Samayoa feels like he has finally exited survival mode. Like everyone, he says, he has made mistakes in the past that made him think, “Maybe I’m not going to heaven.” But with \u003cem>Ain’t No Dogs In Heaven\u003c/em>, Samayoa has gained a sense of freedom in his life. Art is his end goal, but at the same time, he wants his work to reach people who might not see themselves in gallery spaces — people who look like him and come from his various communities.\u003c/p>\n\u003cp>“I just want this show to inspire other people,” he says. “I just want to do as much talking about it because I think it’s important, the mental state of our community. That is what this show is, the growth that we all have within ourselves.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://www.part2gallery.com/blog/aint/esteban\">Ain’t No Dogs In Heaven\u003c/a>’ is on view at pt.2 gallery (1523b Webster St., Oakland) Aug. 5–Sept. 9, 2023.\u003c/i>\u003c/p>\n\n",
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"title": "Esteban Samayoa Makes His Solo Debut at Oakland’s pt.2 Gallery | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Above the pt.2 gallery space on Oakland’s Webster Street, artists of all mediums work away in private studios. While musicians like Ovrkast and Demahjiae make new sounds, artists like Landon Pointer and \u003ca href=\"https://www.instagram.com/wulffvnky/?hl=en\">Esteban Raheem Abdul Raheem Samayoa\u003c/a> prepare art for upcoming shows.\u003c/p>\n\u003cp>On one side of Samayoa’s studio, big, mural-like canvases layered with black charcoal and white airbrush paint stand as tall as the artist. His first solo show in a year, \u003cem>\u003ca href=\"https://www.part2gallery.com/blog/aint/esteban\">Ain’t No Dogs In Heaven\u003c/a>\u003c/em>, opens downstairs at pt.2 on Aug. 5 in three different rooms that represent three distinct chapters of his life: Pops, Esteban Samayoa and Raheem Abdul Raheem.\u003c/p>\n\u003cfigure id=\"attachment_13932173\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13932173\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Samayoa_portrait_800.jpg\" alt=\"Young man in work apron and black skullcap sits with hands clasped in front of a blank canvas\" width=\"800\" height=\"1196\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Samayoa_portrait_800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Samayoa_portrait_800-160x239.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Samayoa_portrait_800-768x1148.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Esteban Samayoa in his studio. \u003ccite>(Photo by Vanessa Vigil)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The show will start with black-and-white imagery from Samayoa’s childhood in Sacramento, the next room will reference the inspiration he found in his Latino culture, and the last space will document his journey to the Islamic faith. It’s an ambitious presentation for the 29-year-old artist, representing months of work and spanning over a dozen paintings and sculptures, many of them large-scale.\u003c/p>\n\u003cp>Samayoa, who grew up in a Mexican and Guatemalan household, and attended mosque with friends and neighbors, was always drawn to art. His mom told him he was drawing at the age of three — and not the normal stick figures with a sun in the corner of the page. “She was like, ‘You understood the concept of how a figure looks like, how people look, how cars look. And you were drawing that at a young age,’” he says. “That has always stuck with me.”\u003c/p>\n\u003cp>Imagery from his Sacramento days shows up throughout his work. Dogs are a constant motif; some of his first drawings depicted \u003ca href=\"https://metro-goldwyn-mayer-cartoons.fandom.com/wiki/Slick_Wolf\">Slick Wolf\u003c/a> from the old Tex Avery cartoons. Like his father and grandfather — who drove classic Cadillacs — the wolf drove nice cars. As he got older, Samayoa saw himself in dogs like the Doberman and rottweiler breeds, which have connotations of being dangerous. With tattoos on his face and hands, people can initially judge him as a threat, but just like the dogs he grew up with, he’s the opposite: a soft-spoken, kind person.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Samayoa moved to Oakland from Sacramento in 2018, taking the leap to being a full-time artist with the hopes of making a living off his art. That two-hour distance from home created the space to grow his confidence in both himself and his work. Showing at places like \u003ca href=\"https://www.swimgallery.com/exhibitions\">Swim Gallery\u003c/a> and \u003ca href=\"https://goodmothergallery.com/artists/50-esteban-samayoa/\">Good Mother Gallery\u003c/a>, he began to build an artistic network. He was gaining momentum — and then the pandemic hit.\u003c/p>\n\u003cp>For many, including Samayoa, the pandemic meant more time at home, but also more time to dedicate to his craft. And that extra $600 Gavin Newsom was giving out was unmatched. Samayoa used his time and money to further develop his “Pops”-era style: airbrushed black-and-white imagery that looks like it could live on a big T-shirt back in the early 2000s.\u003c/p>\n\u003cfigure id=\"attachment_13932175\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13932175\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/PT230112-Samayoa-02-02_COVER.jpg\" alt=\"Complex black-and-white painting with airbrushed figures, dogs, teeth and chain-link fence\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/PT230112-Samayoa-02-02_COVER.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/PT230112-Samayoa-02-02_COVER-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/PT230112-Samayoa-02-02_COVER-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/PT230112-Samayoa-02-02_COVER-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/PT230112-Samayoa-02-02_COVER-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/PT230112-Samayoa-02-02_COVER-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/PT230112-Samayoa-02-02_COVER-1920x1440.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Esteban Raheem Abdul Raheem Samayoa, ‘All in the Family,’ 2023; Acrylic on canvas, 72 x 84 inches. \u003ccite>(Courtesy of pt.2)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When he works with charcoal on raw canvas surfaces, Samayoa’s labor is evident. “It’s kind of painterly because I lay it on pretty thick, and I have to blend it with a rag or paper towel to really get it in the fibers of the cloth,” he says. “I knew I was a natural with charcoal, and I just ran with that.”\u003c/p>\n\u003cp>That assurance is hard-won. Though his shows at Good Mother and Swim Gallery went well, he sold nothing out of a later group show at pt.2. It was a blow to his confidence as an artist, and he took a step back from showing his work.\u003c/p>\n\u003cp>“I was like, ‘Yo, maybe I’m not who I thought I was right now,’” he says. “But at the same time, I’m like, ‘Oh, every artist goes through this.’ I really need to sit down and focus on my practice and what’s important.”\u003c/p>\n\u003cp>Taking that time to recenter, he saw that he wanted to tell his audiences a more complete story of his life. In the “Esteban” section of \u003cem>Ain’t No Dogs In Heaven\u003c/em>, his oil and oil pastel paintings reflect on his Mexican and Guatemalan background — and show him branching out from black and white for the first time. “These color works, it’s kind of me just exploring my heritage from a new perspective,” he says. In the show’s final section, made up of cast prayer rugs and other installation elements, audiences will get a sense of where he is now, after his conversation to Islam.\u003c/p>\n\u003cfigure id=\"attachment_13932180\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13932180\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/es_sml_dual_dog_200.jpg\" alt=\"Vertical painting in reds and browns of two dogs' faces overlapping\" width=\"2000\" height=\"2500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/es_sml_dual_dog_200.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/es_sml_dual_dog_200-800x1000.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/es_sml_dual_dog_200-1020x1275.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/es_sml_dual_dog_200-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/es_sml_dual_dog_200-768x960.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/es_sml_dual_dog_200-1229x1536.jpg 1229w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/es_sml_dual_dog_200-1638x2048.jpg 1638w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/es_sml_dual_dog_200-1920x2400.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Esteban Samayoa, ‘Dos Peritos (For the dogs),’ 2023; Oil, oil pastel on canvas, 26 x 20 inches. \u003ccite>(Courtesy of pt.2)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Moving through the show, Samayoa’s artworks will lead viewers through both the constants of his life and the different stages of his experiences: dealing with the realities of having two absent parents, his love for dogs, the cars he saw his dad drive, and his new sense of self as Raheem Abdul Raheem.\u003c/p>\n\u003cp>At this point, Samayoa feels like he has finally exited survival mode. Like everyone, he says, he has made mistakes in the past that made him think, “Maybe I’m not going to heaven.” But with \u003cem>Ain’t No Dogs In Heaven\u003c/em>, Samayoa has gained a sense of freedom in his life. Art is his end goal, but at the same time, he wants his work to reach people who might not see themselves in gallery spaces — people who look like him and come from his various communities.\u003c/p>\n\u003cp>“I just want this show to inspire other people,” he says. “I just want to do as much talking about it because I think it’s important, the mental state of our community. That is what this show is, the growth that we all have within ourselves.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://www.part2gallery.com/blog/aint/esteban\">Ain’t No Dogs In Heaven\u003c/a>’ is on view at pt.2 gallery (1523b Webster St., Oakland) Aug. 5–Sept. 9, 2023.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "lolo-zouai-has-definitely-entered-the-chat",
"title": "Lolo Zouaï Has Definitely Entered the Chat",
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"content": "\u003cp>It’s a Tuesday night, and Bimbo’s 365 Club is sold out. Fans in furs and Y2K fashions are waving Algerian flags, here to welcome \u003ca href=\"https://playgirl.lolozouai.com/\">Lolo Zouaï\u003c/a> for her hometown show — the first stop on the U.S. leg of her international \u003cem>Playgirl\u003c/em> tour. When she hits the stage with her band, she transports us to the year 3004, and everyone sings along.\u003c/p>\n\u003cp>Zouaï (pronounced zoo-eye) is a French-Algerian, San Francisco-raised pop singer who made her debut right before the pandemic with 2019’s \u003cem>High Highs to Low Lows\u003c/em>, a moody, downtempo R&B album. From there she opened for Dua Lipa on the 2022 \u003cem>Future Nostalgia\u003c/em> tour. Now, she’s returned with a danceable new sound for her sophomore album, \u003cem>Playgirl\u003c/em>, and its accompanying 20-city tour — starting in San Francisco.\u003c/p>\n\u003cp>In the cover art for \u003cem>High Highs to Low Lows\u003c/em>, Zouaï looks blankly at the viewer with an almost finished cigarette in her mouth. On \u003cem>Playgirl\u003c/em>, she embraces her imagination, adopting a playful fembot character built for a cybernetic world.\u003c/p>\n\u003cfigure id=\"attachment_13928414\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/123312-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13928414\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/123312-800x1048.jpg\" alt=\"a young woman dressed in a short skirt and bustier performs on stage with her arms raised in green and red lights\" width=\"800\" height=\"1048\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/123312-800x1048.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/123312-1020x1336.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/123312-160x210.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/123312-768x1006.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/123312-1173x1536.jpg 1173w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/123312-1563x2048.jpg 1563w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/123312-1920x2515.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/123312-scaled.jpg 1954w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Lolo Zouaï sang in the choir as a high school student at Lowell — but always had hip-hop in her headphones. \u003ccite>(Danica Robinson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“When I made the title track [“pl4yg1rl”], I was like ‘Oh, shit!’ [And] then I created the world [of the album]. So the world kind of came after the music,” says Zouaï … it was fun to come up with concepts, and see it through with the visuals. The world is completed with the [live] show.”\u003c/p>\n\u003cp>While Zouaï grew up in San Francisco, the Lowell High graduate moved to New York at 19, around the time she started her musical career in earnest. Now 28, back in S.F. for this show, she is reminded how much she loves the city — whether visiting friends and family, going to the Sunset for boba, or chilling at Ocean Beach.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=lGJs7RwsJ-I\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>Though she’s gone far from home, the singer’s history is never far behind. On \u003cem>Playgirl\u003c/em>, Zouaï takes her listeners into her Brooklyn bedroom — but her sound also embodies her unique blend of cultural influences: she was born in Paris to a French mother and Algerian father, and moved to San Francisco when she was just three months old. She says making music that reflects her different backgrounds has helped her find her voice.\u003c/p>\n\u003cp>“Before I put out my first song, I was trying to figure out what my voice was, and then I realized that my power in my music would be incorporating my cultures,” Zouaï says. “By putting in different languages and sounds that I grew up listening to, I feel like that’s where I struck my core fanbase, and they connected through that.”\u003c/p>\n\u003cp>On \u003cem>Playgirl\u003c/em>, you can hear influences like Rihanna, Britney Spears, Lady Gaga and the \u003cem>California Dream\u003c/em> era of Katy Perry. But there are other musical threads in Zouaï’s sound that might not be immediately obvious to a surface-level listener.\u003c/p>\n\u003cfigure id=\"attachment_13928401\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/1233123-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13928401\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/1233123-800x1010.jpg\" alt=\"A young woman with blonde hair is seen from the side ona stage holding a fan's hand\" width=\"800\" height=\"1010\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/1233123-800x1010.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/1233123-1020x1288.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/1233123-160x202.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/1233123-768x970.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/1233123-1216x1536.jpg 1216w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/1233123-1622x2048.jpg 1622w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/1233123-1920x2425.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/1233123-scaled.jpg 2027w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Lolo Zouaï has built a loyal fanbase since her 2019 debut. \u003ccite>(Danica Robinson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Zouaï paid homage to Bay Area hip-hop with an E-40 feature on her first album, and with \u003cem>Playgirl\u003c/em>, she wanted to bring the music of her upbringing to the forefront.\u003c/p>\n\u003cp>“I think growing up in the Bay, in high school especially, that’s just what I loved to listen to,” she said.\u003c/p>\n\u003cp>Here, Zouaï ’s single “pl4yg1rl” interpolates Too $hort’s 2003 song “Pimpandho.com” off his \u003cem>Married to the Game\u003c/em> album — a track Zouaï had in her headphones as a teenager singing in the Lowell High choir.\u003c/p>\n\u003cp>“I wanted to show more of the playful side, and put a little bit of the hyphy sound with \u003cem>Playgirl\u003c/em>,” she said regarding what listeners get with \u003cem>Playgirl\u003c/em>. “I feel like a lot of people, my fans don’t even know that music, and they’re just not even going to know it, but I just wanted to do that for myself. To shout out the Bay and that’s just what I had to do.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=nZG5SOkvIEM\u003c/p>\n\u003cp>Many of her songs reflect her journey so far: At the show, she began singing the title track from her first album. “The song that started it all,” she said, introducing “High Highs to Low Lows” as one of the last songs of the night.\u003c/p>\n\u003cp>Back when she wrote it, she was working odd jobs during the day and following her dreams at night, seeing signs that she was on the right path.\u003c/p>\n\u003cp>Her fans, whom she calls “lo-riders,” seem to identify no matter how she might change from one record to the next.\u003c/p>\n\u003cp>“I’m always thinking about my fans,” she said. “I think the reason I have a fanbase is because I’ve always been doing my thing, and I’m not really trying to be anything other than myself.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s a Tuesday night, and Bimbo’s 365 Club is sold out. Fans in furs and Y2K fashions are waving Algerian flags, here to welcome \u003ca href=\"https://playgirl.lolozouai.com/\">Lolo Zouaï\u003c/a> for her hometown show — the first stop on the U.S. leg of her international \u003cem>Playgirl\u003c/em> tour. When she hits the stage with her band, she transports us to the year 3004, and everyone sings along.\u003c/p>\n\u003cp>Zouaï (pronounced zoo-eye) is a French-Algerian, San Francisco-raised pop singer who made her debut right before the pandemic with 2019’s \u003cem>High Highs to Low Lows\u003c/em>, a moody, downtempo R&B album. From there she opened for Dua Lipa on the 2022 \u003cem>Future Nostalgia\u003c/em> tour. Now, she’s returned with a danceable new sound for her sophomore album, \u003cem>Playgirl\u003c/em>, and its accompanying 20-city tour — starting in San Francisco.\u003c/p>\n\u003cp>In the cover art for \u003cem>High Highs to Low Lows\u003c/em>, Zouaï looks blankly at the viewer with an almost finished cigarette in her mouth. On \u003cem>Playgirl\u003c/em>, she embraces her imagination, adopting a playful fembot character built for a cybernetic world.\u003c/p>\n\u003cfigure id=\"attachment_13928414\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/123312-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13928414\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/123312-800x1048.jpg\" alt=\"a young woman dressed in a short skirt and bustier performs on stage with her arms raised in green and red lights\" width=\"800\" height=\"1048\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/123312-800x1048.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/123312-1020x1336.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/123312-160x210.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/123312-768x1006.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/123312-1173x1536.jpg 1173w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/123312-1563x2048.jpg 1563w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/123312-1920x2515.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/123312-scaled.jpg 1954w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Lolo Zouaï sang in the choir as a high school student at Lowell — but always had hip-hop in her headphones. \u003ccite>(Danica Robinson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“When I made the title track [“pl4yg1rl”], I was like ‘Oh, shit!’ [And] then I created the world [of the album]. So the world kind of came after the music,” says Zouaï … it was fun to come up with concepts, and see it through with the visuals. The world is completed with the [live] show.”\u003c/p>\n\u003cp>While Zouaï grew up in San Francisco, the Lowell High graduate moved to New York at 19, around the time she started her musical career in earnest. Now 28, back in S.F. for this show, she is reminded how much she loves the city — whether visiting friends and family, going to the Sunset for boba, or chilling at Ocean Beach.\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/lGJs7RwsJ-I'\n title='//www.youtube.com/embed/lGJs7RwsJ-I'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp> \u003c/p>\n\u003cp>Though she’s gone far from home, the singer’s history is never far behind. On \u003cem>Playgirl\u003c/em>, Zouaï takes her listeners into her Brooklyn bedroom — but her sound also embodies her unique blend of cultural influences: she was born in Paris to a French mother and Algerian father, and moved to San Francisco when she was just three months old. She says making music that reflects her different backgrounds has helped her find her voice.\u003c/p>\n\u003cp>“Before I put out my first song, I was trying to figure out what my voice was, and then I realized that my power in my music would be incorporating my cultures,” Zouaï says. “By putting in different languages and sounds that I grew up listening to, I feel like that’s where I struck my core fanbase, and they connected through that.”\u003c/p>\n\u003cp>On \u003cem>Playgirl\u003c/em>, you can hear influences like Rihanna, Britney Spears, Lady Gaga and the \u003cem>California Dream\u003c/em> era of Katy Perry. But there are other musical threads in Zouaï’s sound that might not be immediately obvious to a surface-level listener.\u003c/p>\n\u003cfigure id=\"attachment_13928401\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/1233123-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13928401\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/1233123-800x1010.jpg\" alt=\"A young woman with blonde hair is seen from the side ona stage holding a fan's hand\" width=\"800\" height=\"1010\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/1233123-800x1010.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/1233123-1020x1288.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/1233123-160x202.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/1233123-768x970.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/1233123-1216x1536.jpg 1216w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/1233123-1622x2048.jpg 1622w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/1233123-1920x2425.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/1233123-scaled.jpg 2027w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Lolo Zouaï has built a loyal fanbase since her 2019 debut. \u003ccite>(Danica Robinson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Zouaï paid homage to Bay Area hip-hop with an E-40 feature on her first album, and with \u003cem>Playgirl\u003c/em>, she wanted to bring the music of her upbringing to the forefront.\u003c/p>\n\u003cp>“I think growing up in the Bay, in high school especially, that’s just what I loved to listen to,” she said.\u003c/p>\n\u003cp>Here, Zouaï ’s single “pl4yg1rl” interpolates Too $hort’s 2003 song “Pimpandho.com” off his \u003cem>Married to the Game\u003c/em> album — a track Zouaï had in her headphones as a teenager singing in the Lowell High choir.\u003c/p>\n\u003cp>“I wanted to show more of the playful side, and put a little bit of the hyphy sound with \u003cem>Playgirl\u003c/em>,” she said regarding what listeners get with \u003cem>Playgirl\u003c/em>. “I feel like a lot of people, my fans don’t even know that music, and they’re just not even going to know it, but I just wanted to do that for myself. To shout out the Bay and that’s just what I had to do.”\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/nZG5SOkvIEM'\n title='//www.youtube.com/embed/nZG5SOkvIEM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Many of her songs reflect her journey so far: At the show, she began singing the title track from her first album. “The song that started it all,” she said, introducing “High Highs to Low Lows” as one of the last songs of the night.\u003c/p>\n\u003cp>Back when she wrote it, she was working odd jobs during the day and following her dreams at night, seeing signs that she was on the right path.\u003c/p>\n\u003cp>Her fans, whom she calls “lo-riders,” seem to identify no matter how she might change from one record to the next.\u003c/p>\n\u003cp>“I’m always thinking about my fans,” she said. “I think the reason I have a fanbase is because I’ve always been doing my thing, and I’m not really trying to be anything other than myself.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "How Becoming a Mom and a Doula Prepared Tia Nomore for Her Starring Role",
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"content": "\u003cp>A lot has happened for \u003ca href=\"https://www.instagram.com/tia.nomore/?hl=en\">Tia Nomore\u003c/a> since she became a mom during the height of the pandemic — the arrival of her daughter, and a debut acting role that would challenge her to pull from the most vulnerable depths of her experience. “I feel like a portal sometimes, and that’s very much motherhood,” says the multi-hyphenate artist. “You don’t know what the fuck you’re carrying. I mean, you know, but you don’t until they’re on the other side.”\u003c/p>\n\u003cp>Nomore stars as Gia in \u003ci>Earth Mama\u003c/i>, a forthcoming A24 feature set in 2006 Oakland, directed by U.K.-born, Oakland-raised former Olympic athlete Savanah Leaf. In the film, Nomore plays Gia, a stoic, smart and resourceful single mom going through pregnancy while maintaining a relationship with her other two children in foster care, who she can only see during supervised visits.\u003c/p>\n\u003cp>“People that have seen the movie are so impressed with my performance, but I have a hard time considering it a performance because a lot of that shit was just very real for me,” says Nomore, who was born and raised in Oakland. \u003c/p>\n\u003cfigure id=\"attachment_13925625\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Tia-Nomore-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-002.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13925625\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Tia-Nomore-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-002.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Tia-Nomore-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Tia-Nomore-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Tia-Nomore-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Tia-Nomore-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Tia-Nomore-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-002-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Tia Nomore performs at The New Parish on night seven of the Noise Pop Music and Art Festival on Sunday, Feb. 26, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nomore is best known as a rapper signed to San Francisco’s Text Me Records, and before getting tapped for \u003ci>Earth Mama\u003c/i>, she was two albums deep into her music career. Her last single, “\u003ca href=\"https://tianomore.bandcamp.com/track/drip-feat-amen\">Drip\u003c/a>” featuring Amen and Stoni, came out in 2021, and during last month’s Noise Pop festival, she opened for Junglepussy in front of hundreds of fans at the New Parish. \u003ci>Earth Mama\u003c/i> premiered at the 2023 Sundance Film Festival to glowing reviews, and has only added to her momentum. \u003c/p>\n\u003cp>When Nomore was approached to play Gia, the casting process wasn’t what she expected. She met producers at Bushrod Park in North Oakland, and though it was a familiar setting, she was somewhat skeptical. She received a callback to read for Gia over Zoom, and afterward, she heard that Leaf wanted to meet. When they connected, Nomore instantly picked up on their similarities. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postID='arts_13880448']“She like hella tall, lanky, has a stature of importance,” she says about Leaf. “I recognize one another in that because I’m soft, but I’m also very sharp. That was the first thing I recognized off top, and I was like, ‘I fuck with her energy.’” \u003c/p>\n\u003cp>While becoming Gia on set, Nomore was a year postpartum, still settling into her ever-changing motherhood adventure. Separately, she was training to become a doula, a third career endeavor that gave her an intimate look at other mothers’ experiences, and allowed her to see Gia’s circumstances with sensitivity and grace. Donning a prosthetic pregnancy belly, she felt a sense of clarity, as if the opportunity was sent to her by the spirits above.\u003c/p>\n\u003cfigure id=\"attachment_13925636\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Tia-Nomore-in-Downtown-Oakland-on-Sunday-Feb.-26-2023.-002.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13925636\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Tia-Nomore-in-Downtown-Oakland-on-Sunday-Feb.-26-2023.-002.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Tia-Nomore-in-Downtown-Oakland-on-Sunday-Feb.-26-2023.-002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Tia-Nomore-in-Downtown-Oakland-on-Sunday-Feb.-26-2023.-002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Tia-Nomore-in-Downtown-Oakland-on-Sunday-Feb.-26-2023.-002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Tia-Nomore-in-Downtown-Oakland-on-Sunday-Feb.-26-2023.-002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Tia-Nomore-in-Downtown-Oakland-on-Sunday-Feb.-26-2023.-002-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Tia Nomore in Downtown Oakland on Sunday, Feb. 26, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Leaf brought additional insights from her experience as a documentarian. She had her first shot at directing alongside Taylor Russell for the 2020 short documentary, \u003ci>The Heart Still Hums\u003c/i>, which followed mothers working with Sacramento’s Black Mothers United and Chicks in Crisis, which assists parents overcoming addiction, going through pregnancy without a partner and giving birth at a young age. \u003c/p>\n\u003cp>“I think for this role, for Gia in particular, I really had to tap into Savannah’s lands, because it’s a story that’s very close to home for her. It’s very personal,” Nomore says. “I had to gain a lot of understanding and empathy for a stranger quite quickly.”\u003c/p>\n\u003cp>On set, Nomore and Leaf created a bond so deep that they could look at each other, lace fingers and push against one another when things became too emotional or overwhelming. Nomore also depended on her co-stars Erika Alexander for the deeply emotional scenes, and Bokeem Woodbine for lessons on handling parenthood, artistry and getting back to herself after immersing herself in her role. \u003c/p>\n\u003cp>“I was comforted as Tia to be Gia,” Nomore says. “Like I had my community in real life that knows me from the gate to help support me in doing something so pivotal.” \u003c/p>\n\u003cfigure id=\"attachment_13925627\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Tia-Nomore-backstage-at-The-New-Parish-in-Oakland-on-Sunday-Feb.-26-2023.-001.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13925627\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Tia-Nomore-backstage-at-The-New-Parish-in-Oakland-on-Sunday-Feb.-26-2023.-001.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Tia-Nomore-backstage-at-The-New-Parish-in-Oakland-on-Sunday-Feb.-26-2023.-001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Tia-Nomore-backstage-at-The-New-Parish-in-Oakland-on-Sunday-Feb.-26-2023.-001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Tia-Nomore-backstage-at-The-New-Parish-in-Oakland-on-Sunday-Feb.-26-2023.-001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Tia-Nomore-backstage-at-The-New-Parish-in-Oakland-on-Sunday-Feb.-26-2023.-001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Tia-Nomore-backstage-at-The-New-Parish-in-Oakland-on-Sunday-Feb.-26-2023.-001-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Tia Nomore backstage at The New Parish in Oakland on Sunday, Feb. 26, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Her connections with the other actors ran deep. Keta Price, who plays Mel, went to school with Nomore’s older sister, and Slim Yani, who plays Ari, and has been friends with Nomore through music since their MySpace days.\u003c/p>\n\u003cp>“It felt like home, just turf shit,” Nomore explained. “You really just had a whole cast of real Town niggas. It was real, none of us was actors.”\u003c/p>\n\u003cp>Through her role as Gia, Nomore unlocked a new creative pathway for herself — one that has allowed her to become a better person, mother and artist. She says playing Gia encouraged her to pour into her inner child, which has helped her connect with her daughter. And she’s gratified to portray the challenges of motherhood she’s seen firsthand in her work as a doula, ones that rarely get shine on screen. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I hella wanted to bring this story to life for moms,” Nomore started. “Nobody fucking asks these moms how they’re doing, or how they got to where they are, or how they can be supported for real. So I had to show that shit in my performance.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A lot has happened for \u003ca href=\"https://www.instagram.com/tia.nomore/?hl=en\">Tia Nomore\u003c/a> since she became a mom during the height of the pandemic — the arrival of her daughter, and a debut acting role that would challenge her to pull from the most vulnerable depths of her experience. “I feel like a portal sometimes, and that’s very much motherhood,” says the multi-hyphenate artist. “You don’t know what the fuck you’re carrying. I mean, you know, but you don’t until they’re on the other side.”\u003c/p>\n\u003cp>Nomore stars as Gia in \u003ci>Earth Mama\u003c/i>, a forthcoming A24 feature set in 2006 Oakland, directed by U.K.-born, Oakland-raised former Olympic athlete Savanah Leaf. In the film, Nomore plays Gia, a stoic, smart and resourceful single mom going through pregnancy while maintaining a relationship with her other two children in foster care, who she can only see during supervised visits.\u003c/p>\n\u003cp>“People that have seen the movie are so impressed with my performance, but I have a hard time considering it a performance because a lot of that shit was just very real for me,” says Nomore, who was born and raised in Oakland. \u003c/p>\n\u003cfigure id=\"attachment_13925625\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Tia-Nomore-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-002.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13925625\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Tia-Nomore-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-002.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Tia-Nomore-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Tia-Nomore-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Tia-Nomore-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Tia-Nomore-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Tia-Nomore-performs-at-The-New-Parish-in-Oakland-on-night-seven-of-the-Noise-Pop-Music-and-Art-Festival-on-Sunday-Feb.-26-2023.-002-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Tia Nomore performs at The New Parish on night seven of the Noise Pop Music and Art Festival on Sunday, Feb. 26, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nomore is best known as a rapper signed to San Francisco’s Text Me Records, and before getting tapped for \u003ci>Earth Mama\u003c/i>, she was two albums deep into her music career. Her last single, “\u003ca href=\"https://tianomore.bandcamp.com/track/drip-feat-amen\">Drip\u003c/a>” featuring Amen and Stoni, came out in 2021, and during last month’s Noise Pop festival, she opened for Junglepussy in front of hundreds of fans at the New Parish. \u003ci>Earth Mama\u003c/i> premiered at the 2023 Sundance Film Festival to glowing reviews, and has only added to her momentum. \u003c/p>\n\u003cp>When Nomore was approached to play Gia, the casting process wasn’t what she expected. She met producers at Bushrod Park in North Oakland, and though it was a familiar setting, she was somewhat skeptical. She received a callback to read for Gia over Zoom, and afterward, she heard that Leaf wanted to meet. When they connected, Nomore instantly picked up on their similarities. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“She like hella tall, lanky, has a stature of importance,” she says about Leaf. “I recognize one another in that because I’m soft, but I’m also very sharp. That was the first thing I recognized off top, and I was like, ‘I fuck with her energy.’” \u003c/p>\n\u003cp>While becoming Gia on set, Nomore was a year postpartum, still settling into her ever-changing motherhood adventure. Separately, she was training to become a doula, a third career endeavor that gave her an intimate look at other mothers’ experiences, and allowed her to see Gia’s circumstances with sensitivity and grace. Donning a prosthetic pregnancy belly, she felt a sense of clarity, as if the opportunity was sent to her by the spirits above.\u003c/p>\n\u003cfigure id=\"attachment_13925636\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Tia-Nomore-in-Downtown-Oakland-on-Sunday-Feb.-26-2023.-002.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13925636\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Tia-Nomore-in-Downtown-Oakland-on-Sunday-Feb.-26-2023.-002.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Tia-Nomore-in-Downtown-Oakland-on-Sunday-Feb.-26-2023.-002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Tia-Nomore-in-Downtown-Oakland-on-Sunday-Feb.-26-2023.-002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Tia-Nomore-in-Downtown-Oakland-on-Sunday-Feb.-26-2023.-002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Tia-Nomore-in-Downtown-Oakland-on-Sunday-Feb.-26-2023.-002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Tia-Nomore-in-Downtown-Oakland-on-Sunday-Feb.-26-2023.-002-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Tia Nomore in Downtown Oakland on Sunday, Feb. 26, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Leaf brought additional insights from her experience as a documentarian. She had her first shot at directing alongside Taylor Russell for the 2020 short documentary, \u003ci>The Heart Still Hums\u003c/i>, which followed mothers working with Sacramento’s Black Mothers United and Chicks in Crisis, which assists parents overcoming addiction, going through pregnancy without a partner and giving birth at a young age. \u003c/p>\n\u003cp>“I think for this role, for Gia in particular, I really had to tap into Savannah’s lands, because it’s a story that’s very close to home for her. It’s very personal,” Nomore says. “I had to gain a lot of understanding and empathy for a stranger quite quickly.”\u003c/p>\n\u003cp>On set, Nomore and Leaf created a bond so deep that they could look at each other, lace fingers and push against one another when things became too emotional or overwhelming. Nomore also depended on her co-stars Erika Alexander for the deeply emotional scenes, and Bokeem Woodbine for lessons on handling parenthood, artistry and getting back to herself after immersing herself in her role. \u003c/p>\n\u003cp>“I was comforted as Tia to be Gia,” Nomore says. “Like I had my community in real life that knows me from the gate to help support me in doing something so pivotal.” \u003c/p>\n\u003cfigure id=\"attachment_13925627\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Tia-Nomore-backstage-at-The-New-Parish-in-Oakland-on-Sunday-Feb.-26-2023.-001.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13925627\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Tia-Nomore-backstage-at-The-New-Parish-in-Oakland-on-Sunday-Feb.-26-2023.-001.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Tia-Nomore-backstage-at-The-New-Parish-in-Oakland-on-Sunday-Feb.-26-2023.-001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Tia-Nomore-backstage-at-The-New-Parish-in-Oakland-on-Sunday-Feb.-26-2023.-001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Tia-Nomore-backstage-at-The-New-Parish-in-Oakland-on-Sunday-Feb.-26-2023.-001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Tia-Nomore-backstage-at-The-New-Parish-in-Oakland-on-Sunday-Feb.-26-2023.-001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Tia-Nomore-backstage-at-The-New-Parish-in-Oakland-on-Sunday-Feb.-26-2023.-001-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Tia Nomore backstage at The New Parish in Oakland on Sunday, Feb. 26, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Her connections with the other actors ran deep. Keta Price, who plays Mel, went to school with Nomore’s older sister, and Slim Yani, who plays Ari, and has been friends with Nomore through music since their MySpace days.\u003c/p>\n\u003cp>“It felt like home, just turf shit,” Nomore explained. “You really just had a whole cast of real Town niggas. It was real, none of us was actors.”\u003c/p>\n\u003cp>Through her role as Gia, Nomore unlocked a new creative pathway for herself — one that has allowed her to become a better person, mother and artist. She says playing Gia encouraged her to pour into her inner child, which has helped her connect with her daughter. And she’s gratified to portray the challenges of motherhood she’s seen firsthand in her work as a doula, ones that rarely get shine on screen. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I hella wanted to bring this story to life for moms,” Nomore started. “Nobody fucking asks these moms how they’re doing, or how they got to where they are, or how they can be supported for real. So I had to show that shit in my performance.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>An empty classroom can feel like a jarring setting to return to. No one wants to relive the anxiety of not knowing any classmates or showing up unprepared for a big test. But Tommy Bogo made the high school experience something to celebrate at New York Fashion Week last month. With his spring/summer 2023 collection, “For the Truant & the Fluent,” the Oakland-raised fashion and industrial designer returned to the beginnings of \u003ca href=\"https://www.tombogo.com/\" target=\"_blank\" rel=\"noopener noreferrer\">TOMBOGO\u003c/a>.\u003c/p>\n\u003cp>“It kind of felt like a senior year moment,” Bogo says. “That, to me, was really special. It made me think about where I started and where I’m at now.”\u003c/p>\n\u003cp>The show opened with playful pieces that elevated traditional casualwear, like the bungee-cord skirt modeled by singer Teezo Touchdown. Vallejo producer Hokage Simon walked down the runway — a clearing between rows of desks — with a windmill-shaped leather backpack. Finally, the collection tied back to a piece of clothing integral to adolescence for Bay Area millennials: the oversized Girbaud jeans of the hyphy era, which Bogo reimagined as Girbogos worn by rapper Guap, a.k.a. Guapdad 4000.\u003c/p>\n\u003cp>https://youtu.be/4ITDAEU6d6A\u003c/p>\n\u003cp>TOMBOGO was officially founded in 2020, but Bogo got his start selling screen-printed T-shirts out of his locker at Oakland Technical High School. Today, his products can be seen on global superstars like J Balvin, who lent his name to TOMBOGO’s \u003ca href=\"https://shop.jbalvinmerch.com/products/tombogo-x-j-balvin-led-scouter-glasses-black-lava\" target=\"_blank\" rel=\"noopener noreferrer\">safety-goggle shades with LED flashlights\u003c/a>. Bogo’s futuristic, workwear-inspired pieces often teeter on the edge of practical and illogically elaborate, and signal a confident, comfy cool. Big brands like Saucony and Dr. Martens have tapped him to put new spins on their classic designs. And although Bogo isn’t a household name quite yet, the 28-year-old has become a trendsetter with a growing global impact.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“In high school, I had never imagined I’d be doing a New York Fashion week or going to Paris to debut a sneaker,” Bogo says of his success. “When we did our Paris debut of the Saucony shoe, I actually had a second to take a step back and was like, ‘Woah, I never thought I’d be here because of this.’”\u003c/p>\n\u003cp>While creating his latest collection, Bogo found an opportunity to reflect on his beginnings. At Oakland tech, he took his studies seriously but sometimes skipped classes. He was a skateboarder and played saxophone in the jazz band, and he immersed himself in Oakland’s do-it-yourself creative culture. [aside postid='arts_13920746']\u003c/p>\n\u003cp>“I heard \u003ca href=\"https://www.kqed.org/arts/13908484/mistah-fab-week-dope-era-academy-dezis-oakland\" target=\"_blank\" rel=\"noopener noreferrer\">Mistah F.A.B.\u003c/a> saying he started Dope Era selling shirts out the trunk,” Bogo says of his early inspirations.\u003c/p>\n\u003cp>That outside-the-box mentality extends to the way Bogo approaches his designs, which he strives to make functional and eco-friendly. “If you can make things more utilitarian and multifunctional, then that’s one step closer to these products helping you solve problems on the everyday basis, or at least making your life easier,” Bogo explains.\u003c/p>\n\u003cfigure id=\"attachment_13920983\" class=\"wp-caption aligncenter\" style=\"max-width: 615px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13920983\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/Screenshot-25.png\" alt=\"\" width=\"615\" height=\"750\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Screenshot-25.png 615w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Screenshot-25-160x195.png 160w\" sizes=\"auto, (max-width: 615px) 100vw, 615px\">\u003cfigcaption class=\"wp-caption-text\">Rapper Guap models TOMBOGO’s Saucony shoe. \u003ccite>(Courtesy of TOMBOGO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Whether it was adding pockets to Dr. Martens boots or incorporating recycled materials into his designs, Bogo is conscious of how his industry creates waste and wants to curb it as much as possible.\u003c/p>\n\u003cp>“Being able to purchase a garment that can serve different purposes can hopefully eliminate certain overconsumption,” Bogo says. “My hope is that it really allows people to hold onto these pieces instead of going the fast fashion route and cycling through a bunch of different garments all the time.”\u003c/p>\n\u003cp>As Bogo’s ambitions for his brand grew, he realized he needed to leave home — a harsh reality for many Bay Area creatives. He moved to New York right before the turn of the decade, and took everything he learned at home with him. Today he is based in Los Angeles, and he still continues working with Bay Area artists who came up alongside him. “I think there is something behind Bay Area creative culture that if you have made it out the Bay, there’s some sort of unspoken pact … to really stick together in terms of collaborating,” Bogo says.\u003c/p>\n\u003cp>One of those collaborators is singer \u003ca href=\"https://www.kqed.org/arts/13908331/elujays-bright-rb-emerges-from-two-of-the-hardest-years-of-his-life\" target=\"_blank\" rel=\"noopener noreferrer\">Elujay\u003c/a>, who modeled and created the soundtrack for the “For the Truant & the Fluent” runway show. He’s known Bogo since their days at Oakland Tech, and both have grown into prolific artists who turn to each other for mutual support.\u003c/p>\n\u003cp>https://www.instagram.com/p/CiamyzZABWV/\u003c/p>\n\u003cp>“He’s blossomed in the way he’s blossomed, and I was supporting what Tommy was doing, and he was supporting what I was doing,” Elujay says.\u003c/p>\n\u003cp>As his career progresses, Bogo continues to bring the Bay with him no matter where he goes, whether he’s collaborating with local artists or incorporating his hometown influences in his designs. TOMBOGO shows that it’s possible to come out of Oakland and create something monumental.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I think it is important to leave home for a little and get the perspectives and community network, whatever opportunities there may be,” he says, “and then bring that home eventually.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>An empty classroom can feel like a jarring setting to return to. No one wants to relive the anxiety of not knowing any classmates or showing up unprepared for a big test. But Tommy Bogo made the high school experience something to celebrate at New York Fashion Week last month. With his spring/summer 2023 collection, “For the Truant & the Fluent,” the Oakland-raised fashion and industrial designer returned to the beginnings of \u003ca href=\"https://www.tombogo.com/\" target=\"_blank\" rel=\"noopener noreferrer\">TOMBOGO\u003c/a>.\u003c/p>\n\u003cp>“It kind of felt like a senior year moment,” Bogo says. “That, to me, was really special. It made me think about where I started and where I’m at now.”\u003c/p>\n\u003cp>The show opened with playful pieces that elevated traditional casualwear, like the bungee-cord skirt modeled by singer Teezo Touchdown. Vallejo producer Hokage Simon walked down the runway — a clearing between rows of desks — with a windmill-shaped leather backpack. Finally, the collection tied back to a piece of clothing integral to adolescence for Bay Area millennials: the oversized Girbaud jeans of the hyphy era, which Bogo reimagined as Girbogos worn by rapper Guap, a.k.a. Guapdad 4000.\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/4ITDAEU6d6A'\n title='//www.youtube.com/embed/4ITDAEU6d6A'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>TOMBOGO was officially founded in 2020, but Bogo got his start selling screen-printed T-shirts out of his locker at Oakland Technical High School. Today, his products can be seen on global superstars like J Balvin, who lent his name to TOMBOGO’s \u003ca href=\"https://shop.jbalvinmerch.com/products/tombogo-x-j-balvin-led-scouter-glasses-black-lava\" target=\"_blank\" rel=\"noopener noreferrer\">safety-goggle shades with LED flashlights\u003c/a>. Bogo’s futuristic, workwear-inspired pieces often teeter on the edge of practical and illogically elaborate, and signal a confident, comfy cool. Big brands like Saucony and Dr. Martens have tapped him to put new spins on their classic designs. And although Bogo isn’t a household name quite yet, the 28-year-old has become a trendsetter with a growing global impact.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“In high school, I had never imagined I’d be doing a New York Fashion week or going to Paris to debut a sneaker,” Bogo says of his success. “When we did our Paris debut of the Saucony shoe, I actually had a second to take a step back and was like, ‘Woah, I never thought I’d be here because of this.’”\u003c/p>\n\u003cp>While creating his latest collection, Bogo found an opportunity to reflect on his beginnings. At Oakland tech, he took his studies seriously but sometimes skipped classes. He was a skateboarder and played saxophone in the jazz band, and he immersed himself in Oakland’s do-it-yourself creative culture. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I heard \u003ca href=\"https://www.kqed.org/arts/13908484/mistah-fab-week-dope-era-academy-dezis-oakland\" target=\"_blank\" rel=\"noopener noreferrer\">Mistah F.A.B.\u003c/a> saying he started Dope Era selling shirts out the trunk,” Bogo says of his early inspirations.\u003c/p>\n\u003cp>That outside-the-box mentality extends to the way Bogo approaches his designs, which he strives to make functional and eco-friendly. “If you can make things more utilitarian and multifunctional, then that’s one step closer to these products helping you solve problems on the everyday basis, or at least making your life easier,” Bogo explains.\u003c/p>\n\u003cfigure id=\"attachment_13920983\" class=\"wp-caption aligncenter\" style=\"max-width: 615px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13920983\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/Screenshot-25.png\" alt=\"\" width=\"615\" height=\"750\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Screenshot-25.png 615w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Screenshot-25-160x195.png 160w\" sizes=\"auto, (max-width: 615px) 100vw, 615px\">\u003cfigcaption class=\"wp-caption-text\">Rapper Guap models TOMBOGO’s Saucony shoe. \u003ccite>(Courtesy of TOMBOGO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Whether it was adding pockets to Dr. Martens boots or incorporating recycled materials into his designs, Bogo is conscious of how his industry creates waste and wants to curb it as much as possible.\u003c/p>\n\u003cp>“Being able to purchase a garment that can serve different purposes can hopefully eliminate certain overconsumption,” Bogo says. “My hope is that it really allows people to hold onto these pieces instead of going the fast fashion route and cycling through a bunch of different garments all the time.”\u003c/p>\n\u003cp>As Bogo’s ambitions for his brand grew, he realized he needed to leave home — a harsh reality for many Bay Area creatives. He moved to New York right before the turn of the decade, and took everything he learned at home with him. Today he is based in Los Angeles, and he still continues working with Bay Area artists who came up alongside him. “I think there is something behind Bay Area creative culture that if you have made it out the Bay, there’s some sort of unspoken pact … to really stick together in terms of collaborating,” Bogo says.\u003c/p>\n\u003cp>One of those collaborators is singer \u003ca href=\"https://www.kqed.org/arts/13908331/elujays-bright-rb-emerges-from-two-of-the-hardest-years-of-his-life\" target=\"_blank\" rel=\"noopener noreferrer\">Elujay\u003c/a>, who modeled and created the soundtrack for the “For the Truant & the Fluent” runway show. He’s known Bogo since their days at Oakland Tech, and both have grown into prolific artists who turn to each other for mutual support.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“He’s blossomed in the way he’s blossomed, and I was supporting what Tommy was doing, and he was supporting what I was doing,” Elujay says.\u003c/p>\n\u003cp>As his career progresses, Bogo continues to bring the Bay with him no matter where he goes, whether he’s collaborating with local artists or incorporating his hometown influences in his designs. TOMBOGO shows that it’s possible to come out of Oakland and create something monumental.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I think it is important to leave home for a little and get the perspectives and community network, whatever opportunities there may be,” he says, “and then bring that home eventually.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Stepping into \u003ca href=\"https://www.instagram.com/eternalnow.space/\" target=\"_blank\" rel=\"noopener noreferrer\">Eternal Now\u003c/a> feels like entering another country. On Friday, Aug. 26, the combination bookstore and record shop, housed within an inconspicuous black building on West Oakland’s San Pablo Avenue, was packed almost to the brim to see rappers and producers Alexander Spit and Ovrkast. Will Bundy, one of the shop owners (and former director of the mini-festival \u003ca href=\"https://www.kqed.org/arts/13829045/feels-returns-from-hiatus-with-stacked-lineup-and-impressive-venue\" target=\"_blank\" rel=\"noopener noreferrer\">Feels\u003c/a>), was handling purchases and drinks while Spit made beats live.\u003c/p>\n\u003cp>When it’s not acting as a show venue, the shop, which opened its doors at the start of June, is a calming escape. Light bounces off the white walls; the vibe is a beachside villa. Bundy, along with Ali Madigan, the lead designer on the space, and Jared (Stretch) Schwartz, Bundy’s business partner, make up the Eternal Now team. Bundy and Schwartz handle the inner workings of running the store, including the customer-facing day-to-day activities, and Madigan manages the design duties.\u003c/p>\n\u003cfigure id=\"attachment_13919551\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/EternalNow_ext_1200.jpg\" alt=\"Door open on sidewalk in black-painted facade.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13919551\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/EternalNow_ext_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/EternalNow_ext_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/EternalNow_ext_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/EternalNow_ext_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/EternalNow_ext_1200-768x512.jpg 768w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Eternal Now’s unassuming storefront on San Pablo Avenue. \u003ccite>(Aryk Copley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I want people to feel like they’ve entered a portal into something new, or an oasis, or into a space where they can really get lost in a book, or into the music they’re listening to,” Bundy explains. The store’s hours are limited (Saturdays and Sundays, 1–6pm and by appointment) simply because this is not only a storefront for Bundy. He lives there too.\u003c/p>\n\u003cp>Behind the Eternal Now storefront lies “The Palace,” the space Bundy and Madigan have called home for the last five years. The storefront and living space have morphed dramatically over time. In the 1930s, it was a bar; 30 years later, it briefly became a laundromat. When Bundy and Madigan moved in, they used what is now the store as Madigan’s workshop, where she would work on set and clothing designs.\u003c/p>\n\u003cp>“When we came, it was a lot of windowless rooms and old drywall, and we just basically ripped everything out,” Madigan says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That empty space was a blank canvas for Madigan’s approach to interior design: The Palace was where she tested out ideas with mirrors, curved white planes, small seating areas, geometric shapes and exposed brick. For Eternal Now, Madigan used wooden stairs, metal railings and a lofted platform to create a listening station. “We really played that up, sort of this idea of this secret palace in the back,” she says. (It makes for a great Instagram backdrop too.)\u003c/p>\n\u003cfigure id=\"attachment_13919559\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/EternalNow_tapes_1200.jpg\" alt=\"Close-up view of rack of cassettes\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13919559\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/EternalNow_tapes_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/EternalNow_tapes_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/EternalNow_tapes_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/EternalNow_tapes_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/EternalNow_tapes_1200-768x512.jpg 768w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Cassette tapes for sale at Eternal Now. \u003ccite>(Aryk Copley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“This was our space together, so when Will started to put together the concept of the shop, it was really a no-brainer to design the shop as an extension of the design back here in The Palace,” Madigan explains.\u003c/p>\n\u003cp>Building out the shop took them six months. At the beginning of 2022, Madigan was in a severe car accident that impacted her ability to walk, let alone physically work on creating a new world. So while she began the store construction, she also started the recovery process, and it became a part of the story of Eternal Now.\u003c/p>\n\u003cp>“It kept me still and kept me here in the space 24/7 for months, and that was unexpected,” she says. “A silver lining there was that I was able to be in the space all the time, and I connected to it in a completely different way.”\u003c/p>\n\u003cp>Opening Eternal Now up to others and watching people relate to a space the co-owners poured so much time and energy has been astonishing for the team. Schwartz describes seeing people inside the store as a surreal experience. No many people get to see their hopes manifest as precisely as planned. “It’s a little bit of a trip, opening up your home in this way,” Bundy says. “Mostly, it feels really good. People have said such kind things about the space and are just really here for it.”\u003c/p>\n\u003cfigure id=\"attachment_13919552\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13919552\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/EternalNow_overhead_1200.jpg\" alt=\"Colorful books and records in a white wallled and floored space \" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/EternalNow_overhead_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/EternalNow_overhead_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/EternalNow_overhead_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/EternalNow_overhead_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/EternalNow_overhead_1200-768x512.jpg 768w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Looking down at the store from the lofted listening station. \u003ccite>(Aryk Copley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Since opening, the co-owners have felt the support of the local community. “I feel like it’s making Oakland feel both bigger and smaller at the same,” Bundy explains. He describes the store as a home for beautiful objects. And though the shop is clean and serene, Eternal Now isn’t sterile. The books, cassette tapes, vinyl records, and magazines add color to the decor. Bundy encourages people to explore the store and the things in it. Visitors can read the books on the shelves, take the records out of the plastic and listen to them, or just relax and take in the atmosphere.\u003c/p>\n\u003cp>In this space, Bundy, Madigan and Schwartz can support the art of the people they love in the Bay Area. Soon, they will partner with the San Francisco nonprofit Southern Exposure to present artwork by local artists.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It has been more fulfilling than I even anticipated or could’ve even imagined,” Madigan says after the long months of work. “Having the space open to the public, and seeing that happen.”\u003c/p>\n\n",
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"title": "Eternal Now, a West Oakland Artistic Oasis, is Open for Business | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Stepping into \u003ca href=\"https://www.instagram.com/eternalnow.space/\" target=\"_blank\" rel=\"noopener noreferrer\">Eternal Now\u003c/a> feels like entering another country. On Friday, Aug. 26, the combination bookstore and record shop, housed within an inconspicuous black building on West Oakland’s San Pablo Avenue, was packed almost to the brim to see rappers and producers Alexander Spit and Ovrkast. Will Bundy, one of the shop owners (and former director of the mini-festival \u003ca href=\"https://www.kqed.org/arts/13829045/feels-returns-from-hiatus-with-stacked-lineup-and-impressive-venue\" target=\"_blank\" rel=\"noopener noreferrer\">Feels\u003c/a>), was handling purchases and drinks while Spit made beats live.\u003c/p>\n\u003cp>When it’s not acting as a show venue, the shop, which opened its doors at the start of June, is a calming escape. Light bounces off the white walls; the vibe is a beachside villa. Bundy, along with Ali Madigan, the lead designer on the space, and Jared (Stretch) Schwartz, Bundy’s business partner, make up the Eternal Now team. Bundy and Schwartz handle the inner workings of running the store, including the customer-facing day-to-day activities, and Madigan manages the design duties.\u003c/p>\n\u003cfigure id=\"attachment_13919551\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/EternalNow_ext_1200.jpg\" alt=\"Door open on sidewalk in black-painted facade.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13919551\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/EternalNow_ext_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/EternalNow_ext_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/EternalNow_ext_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/EternalNow_ext_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/EternalNow_ext_1200-768x512.jpg 768w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Eternal Now’s unassuming storefront on San Pablo Avenue. \u003ccite>(Aryk Copley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I want people to feel like they’ve entered a portal into something new, or an oasis, or into a space where they can really get lost in a book, or into the music they’re listening to,” Bundy explains. The store’s hours are limited (Saturdays and Sundays, 1–6pm and by appointment) simply because this is not only a storefront for Bundy. He lives there too.\u003c/p>\n\u003cp>Behind the Eternal Now storefront lies “The Palace,” the space Bundy and Madigan have called home for the last five years. The storefront and living space have morphed dramatically over time. In the 1930s, it was a bar; 30 years later, it briefly became a laundromat. When Bundy and Madigan moved in, they used what is now the store as Madigan’s workshop, where she would work on set and clothing designs.\u003c/p>\n\u003cp>“When we came, it was a lot of windowless rooms and old drywall, and we just basically ripped everything out,” Madigan says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That empty space was a blank canvas for Madigan’s approach to interior design: The Palace was where she tested out ideas with mirrors, curved white planes, small seating areas, geometric shapes and exposed brick. For Eternal Now, Madigan used wooden stairs, metal railings and a lofted platform to create a listening station. “We really played that up, sort of this idea of this secret palace in the back,” she says. (It makes for a great Instagram backdrop too.)\u003c/p>\n\u003cfigure id=\"attachment_13919559\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/EternalNow_tapes_1200.jpg\" alt=\"Close-up view of rack of cassettes\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13919559\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/EternalNow_tapes_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/EternalNow_tapes_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/EternalNow_tapes_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/EternalNow_tapes_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/EternalNow_tapes_1200-768x512.jpg 768w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Cassette tapes for sale at Eternal Now. \u003ccite>(Aryk Copley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“This was our space together, so when Will started to put together the concept of the shop, it was really a no-brainer to design the shop as an extension of the design back here in The Palace,” Madigan explains.\u003c/p>\n\u003cp>Building out the shop took them six months. At the beginning of 2022, Madigan was in a severe car accident that impacted her ability to walk, let alone physically work on creating a new world. So while she began the store construction, she also started the recovery process, and it became a part of the story of Eternal Now.\u003c/p>\n\u003cp>“It kept me still and kept me here in the space 24/7 for months, and that was unexpected,” she says. “A silver lining there was that I was able to be in the space all the time, and I connected to it in a completely different way.”\u003c/p>\n\u003cp>Opening Eternal Now up to others and watching people relate to a space the co-owners poured so much time and energy has been astonishing for the team. Schwartz describes seeing people inside the store as a surreal experience. No many people get to see their hopes manifest as precisely as planned. “It’s a little bit of a trip, opening up your home in this way,” Bundy says. “Mostly, it feels really good. People have said such kind things about the space and are just really here for it.”\u003c/p>\n\u003cfigure id=\"attachment_13919552\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13919552\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/EternalNow_overhead_1200.jpg\" alt=\"Colorful books and records in a white wallled and floored space \" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/EternalNow_overhead_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/EternalNow_overhead_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/EternalNow_overhead_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/EternalNow_overhead_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/EternalNow_overhead_1200-768x512.jpg 768w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Looking down at the store from the lofted listening station. \u003ccite>(Aryk Copley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Since opening, the co-owners have felt the support of the local community. “I feel like it’s making Oakland feel both bigger and smaller at the same,” Bundy explains. He describes the store as a home for beautiful objects. And though the shop is clean and serene, Eternal Now isn’t sterile. The books, cassette tapes, vinyl records, and magazines add color to the decor. Bundy encourages people to explore the store and the things in it. Visitors can read the books on the shelves, take the records out of the plastic and listen to them, or just relax and take in the atmosphere.\u003c/p>\n\u003cp>In this space, Bundy, Madigan and Schwartz can support the art of the people they love in the Bay Area. Soon, they will partner with the San Francisco nonprofit Southern Exposure to present artwork by local artists.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It has been more fulfilling than I even anticipated or could’ve even imagined,” Madigan says after the long months of work. “Having the space open to the public, and seeing that happen.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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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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"mindshift": {
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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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"order": 12
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"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
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"onourwatch": {
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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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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
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},
"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"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": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/reveal300px.png",
"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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"source": "npr"
},
"link": "/radio/program/reveal",
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"rss": "http://feeds.revealradio.org/revealpodcast"
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},
"rightnowish": {
"id": "rightnowish",
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