Queer Metal Band Ragana Casts ‘Modern Spells’ for Liberation
Mishmish Reimagines Family-Style Palestinian Bites for Bay Area Vegans
Oaxacan Elegance Is the Highlight at This Mexican American Pop-Up
A New Doc Shows How Oakland's Black Cowboys Keep History Alive
After Five Decades of Shows, Eli’s Mile High Club Keeps the Party Going on Patreon
With an Ear to the Underground, Oakland Punk and Metal Label Tankcrimes Thrives
Tommy Wright III, Memphis Rap Legend, Comes to Oakland
'Evolutionary Blues' Resurrects West Oakland's Musical Legacy
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Everything the metal duo does seems to be in the service of some kind of spell — something that Coley, one of the band’s two mononymous multi-instrumentalists, defines as “bringing an idea into reality.”\u003c/p>\n\u003cp>“I feel like we’re doing magic, but not in some esoteric way,” says Coley. “If you say ‘witchcraft,’ it brings up a lot of connotations of spooky things, but I feel more the ability to make people see things that are right in front of their eyes, the ability to change people’s emotions and feelings.”\u003c/p>\n\u003cp>Ragana (pronounced RAHG-a-na — Latvian and Lithuanian for “witch”) is split between Olympia, Wash., where Coley lives, and Oakland, where fellow drummer-guitarist-singer Maria lives. Both are cities with long histories of activism, and Ragana, which identifies as a “queer antifascist black metal/doom duo,” sees its “modern spells” as a conduit for social and political change.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1593529578/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cem>Desolation’s Flower\u003c/em> (out October 27) is their first album for The Flenser, which has become a hub for eccentric, innovative and heavy music since San Francisco native Jonathan Tuite founded it in 2010. The seven songs on \u003cem>Desolation’s Flower\u003c/em> include the title track, a “hymn to queer and trans ancestors,” and “DTA” (“Death to America”), which literalizes the concept of protest music by integrating a field recording from the 2020 George Floyd protests in Oakland.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I wanted to tie in the actual sound of a movement, a revolution of people living and breathing and experiencing in that moment,” says Maria. “It’s really powerful to hear that energy, and stressful to tear gas hitting the ground and cops and people chanting. It’s a feeling I wanted to invite into our music and have people think about. I just want people to think about revolution.”\u003c/p>\n\u003cp>Coley and Maria met in 2011 in Olympia, a focal point for the raw and atmospheric style of metal that’s come to be associated with the Pacific Northwest and its rainy, rugged landscape. They first bonded over Wolves in the Throne Room, one of Olympia’s most influential metal bands.\u003c/p>\n\u003cp>“The first time we ever met was at a grocery store,” says Coley. “We were each with a different friend, and I was wearing a Wolves in the Throne Room T-shirt, and Maria thought it was cool, which was very flattering. Our mutual friends encouraged us to meet and play music together.” [aside label='More Music Coverage' postid='arts_13928718,arts_13936776,arts_13936614']\u003c/p>\n\u003cp>The duo works in a style that has often been described as “blackened doom metal” — a fusion of the foreboding crawl of doom metal with the rugged, elemental sound of black metal. “The two of us wanted to play something that felt unique and heavy and dark and beautiful,” says Maria.\u003c/p>\n\u003cp>Both musicians describe themselves as “drummers first” and trade vocal, songwriting and guitar duties. Maria describes her songwriting style as simpler and more lyrics-driven, while Coley describes their own style as more complex. “Maria writes catchier hits,” Coley jokes.\u003c/p>\n\u003cp>Ragana’s catchiest hit to date is 2017’s “You Take Nothing.” No one leaves a Ragana show without its titular refrain in their head, which Maria shouts over and over again like a shamanic invocation against evil. At the band’s performance at the Swedish American Hall at 2022’s \u003ca href=\"https://www.kqed.org/arts/tag/noise-pop\">Noise Pop\u003c/a>, opening for the legendary Northwest indie-folk project The Microphones, the duo led the crowd in an ecstatic shout-along that seemed to energize the audience and lift the spirits in the room.\u003c/p>\n\u003cp>The two musicians’ frequent switching between instruments at live shows lends an element of unpredictability to their performances. “The band just wouldn’t be the same if we weren’t switching instruments on each song and writing different songs,” says Coley. “It renews or changes the energy when we switch instruments, which is cool to experience as a musician.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1871941623/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>For all its musical innovation, heavy metal can be a surprisingly conservative genre, with a strong reactionary streak. This is \u003ca href=\"https://www.cjr.org/first_person/heavy-metal-capitol-spotting-nazis.php\">especially true in black metal\u003c/a>, some of whose stars have openly expressed racist, homophobic and fascist views.\u003c/p>\n\u003cp>So how are metal fans reacting to a proudly queer duo going against the grain? Coley says that, aside from “people making up comments on random metal websites,” the band has largely avoided hostility from the wider scene.\u003c/p>\n\u003cp>“In real life we’ve chosen to surround ourselves with people who we respect and who respect us and share a similar commitment to expansiveness in music and less of an obsession with strictly defining labels and gatekeeping who can do what,” says Coley.\u003c/p>\n\u003cfigure id=\"attachment_13936854\" class=\"wp-caption aligncenter\" style=\"max-width: 2500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936854\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/ragana-3.jpg\" alt=\"Maria strums her guitar and Coley plays drums at Ragana's live performance at Hollywood Forever in Los Angeles.\" width=\"2500\" height=\"1667\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/ragana-3.jpg 2500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/ragana-3-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/ragana-3-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/ragana-3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/ragana-3-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/ragana-3-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/ragana-3-2048x1366.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/ragana-3-1920x1280.jpg 1920w\" sizes=\"(max-width: 2500px) 100vw, 2500px\">\u003cfigcaption class=\"wp-caption-text\">Ragana’s Maria (left) and Coley (right) both sing and play guitar and drums. They often switch instruments during shows. \u003ccite>(Debi Del Grande )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Flenser has become something of a hub for heavy bands that embrace open-mindedness in both music and philosophy. Ragana’s labelmates include \u003ca href=\"https://agriculturemusic.bandcamp.com/album/agriculture\">Agriculture\u003c/a>, an “ecstatic black metal” band co-fronted by trans musician and writer \u003ca href=\"https://leahlevinson.info/\">Leah B. Levinson\u003c/a>, and \u003ca href=\"https://chatpile.bandcamp.com/\">Chat Pile\u003c/a>, an Oklahoma band whose music deals uncompromisingly with American industrial and infrastructural decay.\u003c/p>\n\u003cp>Ragana will celebrate the release of \u003cem>Desolation’s Flower\u003c/em> on Nov. 3 with a show at \u003ca href=\"https://www.eventbrite.com/e/ragana-record-release-show-with-kim-cheree-tickets-713870815827?aff=oddtdtcreator\">Eli’s Mile High Club in Oakland\u003c/a>, joined by two like-minded East Bay bands: punk-doom band \u003ca href=\"https://kimaband.bandcamp.com/\">KIM\u003c/a> and industrial noise-rock quartet \u003ca href=\"https://chereeusa.bandcamp.com/album/factory\">Cheree\u003c/a>.\u003c/p>\n\u003cp>“The Bay Area is an inspiring place,” says Maria. “In Oakland, there’s a lot of openness to ideas, openness to people living in different ways. And I think it has just brought out a lot of inspiration that life can be uplifted, revolutions can happen and people can be inspired and changed.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Ragana performs at Eli’s Mile High Club in Oakland with KIM and Cheree on Nov. 3. \u003ca href=\"https://www.eventbrite.com/e/ragana-record-release-show-with-kim-cheree-tickets-713870815827?aff=oddtdtcreator\">Tickets and details here\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"'I just want people to think about revolution,' says band member Maria of their new album, 'Desolation's Flower.'","status":"publish","parent":0,"modified":1705003194,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":true,"iframeSrcs":["https://bandcamp.com/EmbeddedPlayer/album=1593529578/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/","https://bandcamp.com/EmbeddedPlayer/album=1871941623/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/"],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":23,"wordCount":1067},"headData":{"title":"Queer Metal Band Ragana Casts ‘Modern Spells’ for Liberation | KQED","description":"'I just want people to think about revolution,' says band member Maria of their new album, 'Desolation's Flower.'","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"nprByline":"Daniel Bromfield","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13936847/queer-metal-band-ragana-casts-modern-spells-for-liberation","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>When \u003ca href=\"https://ragana.bandcamp.com/\">Ragana\u003c/a> first contacted San Francisco metal label \u003ca href=\"https://nowflensing.com/?gclid=CjwKCAjws9ipBhB1EiwAccEi1IToOlYKgyTaoGOFe3buDvkVfoK8TE3MfOKkXprBMXtBlTPQspLHnBoCRksQAvD_BwE\">The Flenser\u003c/a> about releasing their music, they sent them their first two tapes in a box filled with moss. Everything the metal duo does seems to be in the service of some kind of spell — something that Coley, one of the band’s two mononymous multi-instrumentalists, defines as “bringing an idea into reality.”\u003c/p>\n\u003cp>“I feel like we’re doing magic, but not in some esoteric way,” says Coley. “If you say ‘witchcraft,’ it brings up a lot of connotations of spooky things, but I feel more the ability to make people see things that are right in front of their eyes, the ability to change people’s emotions and feelings.”\u003c/p>\n\u003cp>Ragana (pronounced RAHG-a-na — Latvian and Lithuanian for “witch”) is split between Olympia, Wash., where Coley lives, and Oakland, where fellow drummer-guitarist-singer Maria lives. Both are cities with long histories of activism, and Ragana, which identifies as a “queer antifascist black metal/doom duo,” sees its “modern spells” as a conduit for social and political change.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1593529578/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cem>Desolation’s Flower\u003c/em> (out October 27) is their first album for The Flenser, which has become a hub for eccentric, innovative and heavy music since San Francisco native Jonathan Tuite founded it in 2010. The seven songs on \u003cem>Desolation’s Flower\u003c/em> include the title track, a “hymn to queer and trans ancestors,” and “DTA” (“Death to America”), which literalizes the concept of protest music by integrating a field recording from the 2020 George Floyd protests in Oakland.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I wanted to tie in the actual sound of a movement, a revolution of people living and breathing and experiencing in that moment,” says Maria. “It’s really powerful to hear that energy, and stressful to tear gas hitting the ground and cops and people chanting. It’s a feeling I wanted to invite into our music and have people think about. I just want people to think about revolution.”\u003c/p>\n\u003cp>Coley and Maria met in 2011 in Olympia, a focal point for the raw and atmospheric style of metal that’s come to be associated with the Pacific Northwest and its rainy, rugged landscape. They first bonded over Wolves in the Throne Room, one of Olympia’s most influential metal bands.\u003c/p>\n\u003cp>“The first time we ever met was at a grocery store,” says Coley. “We were each with a different friend, and I was wearing a Wolves in the Throne Room T-shirt, and Maria thought it was cool, which was very flattering. Our mutual friends encouraged us to meet and play music together.” \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"label":"More Music Coverage ","postid":"arts_13928718,arts_13936776,arts_13936614"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The duo works in a style that has often been described as “blackened doom metal” — a fusion of the foreboding crawl of doom metal with the rugged, elemental sound of black metal. “The two of us wanted to play something that felt unique and heavy and dark and beautiful,” says Maria.\u003c/p>\n\u003cp>Both musicians describe themselves as “drummers first” and trade vocal, songwriting and guitar duties. Maria describes her songwriting style as simpler and more lyrics-driven, while Coley describes their own style as more complex. “Maria writes catchier hits,” Coley jokes.\u003c/p>\n\u003cp>Ragana’s catchiest hit to date is 2017’s “You Take Nothing.” No one leaves a Ragana show without its titular refrain in their head, which Maria shouts over and over again like a shamanic invocation against evil. At the band’s performance at the Swedish American Hall at 2022’s \u003ca href=\"https://www.kqed.org/arts/tag/noise-pop\">Noise Pop\u003c/a>, opening for the legendary Northwest indie-folk project The Microphones, the duo led the crowd in an ecstatic shout-along that seemed to energize the audience and lift the spirits in the room.\u003c/p>\n\u003cp>The two musicians’ frequent switching between instruments at live shows lends an element of unpredictability to their performances. “The band just wouldn’t be the same if we weren’t switching instruments on each song and writing different songs,” says Coley. “It renews or changes the energy when we switch instruments, which is cool to experience as a musician.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1871941623/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>For all its musical innovation, heavy metal can be a surprisingly conservative genre, with a strong reactionary streak. This is \u003ca href=\"https://www.cjr.org/first_person/heavy-metal-capitol-spotting-nazis.php\">especially true in black metal\u003c/a>, some of whose stars have openly expressed racist, homophobic and fascist views.\u003c/p>\n\u003cp>So how are metal fans reacting to a proudly queer duo going against the grain? Coley says that, aside from “people making up comments on random metal websites,” the band has largely avoided hostility from the wider scene.\u003c/p>\n\u003cp>“In real life we’ve chosen to surround ourselves with people who we respect and who respect us and share a similar commitment to expansiveness in music and less of an obsession with strictly defining labels and gatekeeping who can do what,” says Coley.\u003c/p>\n\u003cfigure id=\"attachment_13936854\" class=\"wp-caption aligncenter\" style=\"max-width: 2500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936854\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/ragana-3.jpg\" alt=\"Maria strums her guitar and Coley plays drums at Ragana's live performance at Hollywood Forever in Los Angeles.\" width=\"2500\" height=\"1667\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/ragana-3.jpg 2500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/ragana-3-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/ragana-3-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/ragana-3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/ragana-3-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/ragana-3-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/ragana-3-2048x1366.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/ragana-3-1920x1280.jpg 1920w\" sizes=\"(max-width: 2500px) 100vw, 2500px\">\u003cfigcaption class=\"wp-caption-text\">Ragana’s Maria (left) and Coley (right) both sing and play guitar and drums. They often switch instruments during shows. \u003ccite>(Debi Del Grande )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Flenser has become something of a hub for heavy bands that embrace open-mindedness in both music and philosophy. Ragana’s labelmates include \u003ca href=\"https://agriculturemusic.bandcamp.com/album/agriculture\">Agriculture\u003c/a>, an “ecstatic black metal” band co-fronted by trans musician and writer \u003ca href=\"https://leahlevinson.info/\">Leah B. Levinson\u003c/a>, and \u003ca href=\"https://chatpile.bandcamp.com/\">Chat Pile\u003c/a>, an Oklahoma band whose music deals uncompromisingly with American industrial and infrastructural decay.\u003c/p>\n\u003cp>Ragana will celebrate the release of \u003cem>Desolation’s Flower\u003c/em> on Nov. 3 with a show at \u003ca href=\"https://www.eventbrite.com/e/ragana-record-release-show-with-kim-cheree-tickets-713870815827?aff=oddtdtcreator\">Eli’s Mile High Club in Oakland\u003c/a>, joined by two like-minded East Bay bands: punk-doom band \u003ca href=\"https://kimaband.bandcamp.com/\">KIM\u003c/a> and industrial noise-rock quartet \u003ca href=\"https://chereeusa.bandcamp.com/album/factory\">Cheree\u003c/a>.\u003c/p>\n\u003cp>“The Bay Area is an inspiring place,” says Maria. “In Oakland, there’s a lot of openness to ideas, openness to people living in different ways. And I think it has just brought out a lot of inspiration that life can be uplifted, revolutions can happen and people can be inspired and changed.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Ragana performs at Eli’s Mile High Club in Oakland with KIM and Cheree on Nov. 3. \u003ca href=\"https://www.eventbrite.com/e/ragana-record-release-show-with-kim-cheree-tickets-713870815827?aff=oddtdtcreator\">Tickets and details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13936847/queer-metal-band-ragana-casts-modern-spells-for-liberation","authors":["byline_arts_13936847"],"categories":["arts_1","arts_69"],"tags":["arts_2546","arts_10278","arts_994"],"featImg":"arts_13936853","label":"arts"},"arts_13928345":{"type":"posts","id":"arts_13928345","meta":{"index":"posts_1591205157","site":"arts","id":"13928345","score":null,"sort":[1682620214000]},"guestAuthors":[],"slug":"mishmish-vegan-palestinian-pop-up","title":"Mishmish Reimagines Family-Style Palestinian Bites for Bay Area Vegans","publishDate":1682620214,"format":"standard","headTitle":"Mishmish Reimagines Family-Style Palestinian Bites for Bay Area Vegans | KQED","labelTerm":{},"content":"\u003cp>\u003cb>\u003ci>¡Hella Hungry! is a column about Bay Area foodmakers, exploring the region’s culinary cultures through the mouth of a first-generation local.\u003c/i>\u003c/b>\u003c/p>\n\u003cp>I love the East Bay. On a spring afternoon, you can wander into an Oakland punk bar with an outdoor patio to enjoy a cocktail with a longtime friend and discuss the rise of artificial intelligence with a stranger at your table — all while sharing plates of fattoush (an Arabic salad) and foul medammes (a fava bean dip served with oil and pita bread) beneath the hazy sun.\u003c/p>\n\u003cp>Slow moments like this are welcomed in our fast-paced world — a chance to check in, make new connections and nourish a sense of self-care and community through an exchange of cultural lessons and life experiences. And, at least for this particular dive bar pop-up, \u003ca href=\"https://www.instagram.com/mishmishsouq/\">Mishmish\u003c/a> — Michelle Nazzal’s take on vegan Palestinian recipes with a Bay Area lens — is at the center of it all.\u003c/p>\n\u003cp>Historically, \u003ca href=\"https://decolonizepalestine.com/intro/palestine-throughout-history/\">Palestine and its diaspora have had to fight to resist erasure and preserve their identity\u003c/a>. Nazzal’s grandparents immigrated from Palestine to San Francisco in the 1960s, and her family has long used food as a way to sustain themselves and those around them. After opening Arabic markets around the city, the family eventually moved to Petaluma, where Nazzal grew up taking notes on her grandmother’s cooking.\u003c/p>\n\u003cp>For Nazzal, who is mixed white and Palestinian, food transcends a mere meal. Instead, it becomes a way to acknowledge the resilience of others, a conduit to pass down sacred knowledge and a gathering point for intergenerational optimism.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>After stopping by \u003ca href=\"https://www.instagram.com/elismilehighclub/\">Eli’s Mile High Club\u003c/a> — where the pop-up ran throughout April — to experience Mishmish, I asked Nazzal about her connection to Palestine, Northern California and her grandmother’s recipes.\u003c/p>\n\u003cp>\u003ci>This interview has been edited for length and clarity.\u003c/i>\u003c/p>\n\u003cp style=\"text-align: center\">********\u003c/p>\n\u003cp>\u003cb>Alan Chazaro: Let’s start with “Mishmish.” What does that concept mean for you, and how did it turn into a food pop-up?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Michelle Nazzal: \u003c/b>It’s something that’s very personal to me. It means “apricot” in Arabic. [But it’s also] a nickname my grandpa gave me as a kid. People in my family call me that.\u003c/p>\n\u003cp>When I was putting together Mishmish, it started out in a different format. I was a graphic designer [at the time] and I was thinking of ways to document food. I spent time with my grandma and wanted to catalog it. It started out as a [PDF] cookbook project, a personal thing with family photos and things like that. It sort of became a thing where I made food for friends, and they asked if I had a pop-up. My parents had a grocery and deli around San Francisco but I hadn’t thought about getting into making food. It’s different [from the family’s market]. It’s Palestinian and vegan. A lot of Palestinian food is innately vegan, but I took time to change recipes that are usually meat-centric. It started out in 2021.\u003c/p>\n\u003cfigure id=\"attachment_13928353\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13928353\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/uag2vFZW.jpg-large.jpeg\" alt=\"a tray of Palestinian food is served at an outdoor patio in Oakland\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/uag2vFZW.jpg-large.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/uag2vFZW.jpg-large-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/uag2vFZW.jpg-large-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/uag2vFZW.jpg-large-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/uag2vFZW.jpg-large-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/uag2vFZW.jpg-large-1536x1024.jpeg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Foul medammes and fattoush served with a sweet pastry and pita bread. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In thinking about how I want Mishmish to feel, it’s welcoming and community-based. Providing things that are authentic and mostly traditional and hard to find, things I grew up with that are weird and niche, like jameed, a dried yogurt ball. It’s a really big process, but there’s no vegan version of that. I want to figure that out and offer it. Having my own twist on things that I’ve discovered and played around with as a vegan [that incorporate] other Arabic flavors as well.\u003c/p>\n\u003cp>\u003cb>Are apricots common in Palestinian food?\u003c/b>\u003c/p>\n\u003cp>Apricots are used frequently in desserts. You can get it in Turkish delight, puddings are made from or topped with it, compotes, jams. [It’s used] as a sweet component. There’s also a saying in Arabic, “Bukra fil mish-mish.” The season for apricots is so quick. They ripen and go bad really quickly. It’s a saying everyone always says. It’s like saying “when pigs fly.”\u003c/p>\n\u003cp>\u003cb>When did your family migrate from Palestine to the Bay Area, and in what ways has food been passed on throughout that transition?\u003c/b>\u003c/p>\n\u003cp>I grew up with this food because of my grandma. My grandparents immigrated here in the ‘60s with a rich culture and background and all their recipes. When \u003ca href=\"https://www.history.com/this-day-in-history/u-n-votes-for-partition-of-palestine\">the partition happened in the ‘40s\u003c/a>, my grandma was expelled from the land, which is now Tel Aviv. They decided they wanted to give the family a bit of a better life. A lot of [Palestinians] moved in the ‘60s. My family moved directly to San Francisco, around Cole Valley. They lived in one building, one family per floor, but all our family was together. My dad got to grow up with his first cousins in the same building.\u003c/p>\n\u003cfigure id=\"attachment_13928382\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13928382\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/Tete_RichmondMarket-1.jpg\" alt='Old black-and-white photo of a woman standing inside a deli/market; a neon sign in back reads, \"Burgie!\"' width=\"1920\" height=\"1321\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Tete_RichmondMarket-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Tete_RichmondMarket-1-800x550.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Tete_RichmondMarket-1-1020x702.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Tete_RichmondMarket-1-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Tete_RichmondMarket-1-768x528.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Tete_RichmondMarket-1-1536x1057.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Nazzal’s grandmother, Laurain Nazzal, inside the market her family used to run at 41st and Balboa in San Francisco. \u003ccite>(Courtesy of Michelle Nazzal)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>My grandma grew up on a farm in Jericho, raising her food and livestock. The perspective she brings to [foodmaking] is from her region. My grandma taught me how to break down a vegetable or animal [because] it all has a purpose. We honor it. There’s something special about that. She showed me how to make a lot of things fully from scratch. There’s a tenderness and slowness to that. It can take multiple days; it’s involved and hands-on to prepare a big dish. It’s so community-based and community-oriented. Palestinians have a connection to the soil and agriculture which has been passed down through generations.\u003c/p>\n\u003cp>Growing up in the diaspora and having never gone to Palestine has been challenging, so my direct connection is through food and recipes. That’s how I connect to ancestral things I’ve inherited from my family.\u003c/p>\n\u003cp>\u003cb>Why is it important for you to serve Palestinian food in today’s Bay Area?\u003c/b>\u003c/p>\n\u003cp>There’s so much erasure happening with Palestine — the people, culture, land. Being in diaspora, you’re one step removed from everything, and the further you get and water it down, the more it gets diluted and starts disappearing. In the diaspora, it’s a good idea for us to represent those roots.\u003c/p>\n\u003cfigure id=\"attachment_13928383\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13928383\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/mishmish_nazzal.jpg\" alt=\"Tattooed woman wearing black plastic gloves prepares a plate of rice inside a restaurant kitchen.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/mishmish_nazzal.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/mishmish_nazzal-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/mishmish_nazzal-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/mishmish_nazzal-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/mishmish_nazzal-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/mishmish_nazzal-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Nazzal says she wants to introduce diners to Palestinian dishes that go beyond the usual hummus and shawarma. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>My family comes from a Christian background, and there are a lot of Christian Palestinians in the Bay — especially in San Francisco, San Jose. If we went to a market, we knew people were Palestinian but it was never broadly announced. It’s challenging to honor your background as a small business owner, making sure it doesn’t affect your business. It was more challenging perhaps to do that back then, but it’s important to me to make that an essential part of what I’m doing. I don’t shy away from it. I have a punk and anarchist background so it’s important to honor that. Sharing my food, that’s important. Removing Palestine from it isn’t doing justice to the sacrifices my family has made.\u003c/p>\n\u003cp>\u003cb>What challenges have you faced as a Palestinian American food maker?\u003c/b>\u003c/p>\n\u003cp>When people think of places like the Arab region there tends to be a stereotype about the people or how the food will taste. With Arab food people default to shawarma, falafel, hummus. But there’s so much nuance to our food. It’s challenging when you have a pop-up because there are certain expectations to [serve] things like hummus. But I don’t always want to give that to people. I want to share dishes I grew up with that are special to me.\u003c/p>\n\u003cp>\u003cb>What’s the most popular item you serve at Mishmish? And what’s an example of a traditional Palestinian dish that represents comfort for you?\u003c/b>\u003c/p>\n\u003cfigure id=\"attachment_13928355\" class=\"wp-caption alignright\" style=\"max-width: 1366px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13928355\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/5HOA9KqO.jpg-large.jpeg\" alt=\"\" width=\"1366\" height=\"2048\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/5HOA9KqO.jpg-large.jpeg 1366w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/5HOA9KqO.jpg-large-800x1199.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/5HOA9KqO.jpg-large-1020x1529.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/5HOA9KqO.jpg-large-160x240.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/5HOA9KqO.jpg-large-768x1151.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/5HOA9KqO.jpg-large-1025x1536.jpeg 1025w\" sizes=\"(max-width: 1366px) 100vw, 1366px\">\u003cfigcaption class=\"wp-caption-text\">Bazella, a carrot and green pea stew, served at Mishmish. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>My cashew labneh is a big hit. People who are lactose intolerant or maybe have never had labneh before love it. I’ve been a vegetarian for a long time and went vegan five or six years ago. I had to figure out how to replace knafeh, which is a cheese-based dessert, and labneh [with vegan substitutes]. That’s really special for me to share with people who have a similar background to experience and invoke those memories, but also for those who haven’t had it before to introduce those flavors.\u003c/p>\n\u003cp>Depending upon where you’re from in Palestinian, there are very regional dishes. Labneh is, traditionally, yogurt that has been salted over time and fermented for over a week or so. Knafeh is very Palestinian, from Nablus. My family uses sweet and salty cheese and dough, like shredded filo, with orange powder and butter for a crunchy effect. It gets baked and dusted in sugar — it’s syrupy, very sweet, salty, crunchy. Depending on which region you’re from, they will make it differently. In Gaza they don’t use cheese; they make more of a baklava filling with spiced walnuts and pistachios. But it’s specifically Palestinian.\u003c/p>\n\u003cp>There are variations [of similar dishes in other regions]. Labneh, hummus, falafel — a lot of people in Lebanon, Syria, Iraq and Yemen, they all make similar food. But it’s important to highlight things that are specific to your culture, to make those differentiations. That’s important to me with Mishmish — to make dishes that have inspirations, maybe from Persian food or other Arab countries that are adjacent to Palestine, but I want to make sure to make that differentiation.\u003c/p>\n\u003cfigure id=\"attachment_13928354\" class=\"wp-caption alignleft\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13928354\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/KU86MpD2.jpg-medium.jpeg\" alt=\"a menu for Mishmish, a Palestinian pop-up, offers a variety of family-style plates\" width=\"750\" height=\"1104\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/KU86MpD2.jpg-medium.jpeg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/KU86MpD2.jpg-medium-160x236.jpeg 160w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">Mishmish offers a rotating array of Palestinian and SSWANA-inspired vegan foods. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>How has growing up in San Francisco and Petaluma influenced your approach to food?\u003c/b>\u003c/p>\n\u003cp>I sometimes take special trips around the Bay to get something I’m specifically looking for. I remember being a kid and taking Muni with my grandma and going to different Filipino vendors to find things that are similar in our cultures. My grandma would find the closest possible thing to use in her cooking. That’s really special — being able to adapt and support other people and cultures. It’s a cool cross-cultural way of honoring food. It gives you a wider appreciation.\u003c/p>\n\u003cp>A few businesses here are an inspiration for me. \u003ca href=\"https://www.instagram.com/queens_sf/?hl=en\">Queens\u003c/a> in San Francisco, a Korean market. They make and vend Korean foods and ingredients you can’t really find anywhere else. \u003ca href=\"https://www.instagram.com/reemscalifornia/\">Reem’s\u003c/a>, of course, is an amazing Arab street food place and bakery. I love their idea of creating equitable workplaces for people. That’s important to how I structure my business and how I want to hire and provide a safe work environment for people who are paid well. I also like \u003ca href=\"https://www.instagram.com/liondancecafe/\">Lion Dance\u003c/a> — they’re a vegan Singaporean restaurant here in Oakland. I appreciate their approach. One of the owners is Singaporean and the other is Italian, so they’ve created a beautiful menu that honors the authenticity of their foods and cultures. I celebrate that and want to see that more for SSWANA people.\u003c/p>\n\u003cp>\u003cb>What’s SSWANA?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[aside postID='arts_13918017,arts_13925984,arts_13920581']\u003c/span>\u003ca href=\"https://www.kqed.org/arts/13918017/jeweled-rice-art-persian-food-sswana-middle-eastern-pop-up\">SSWANA\u003c/a> means South Asian, Southwest Asian and North African. When you think of Middle Eastern versus SSWANA, SSWANA is actually more accurate. Middle Eastern is a colonized word and term that was created by people who aren’t Arab. I’m trying to help change that narrative by changing my vocabulary. I’ve had a wild experience filling out my ethnicity on census forms.\u003c/p>\n\u003cp>\u003cb>That’s dope, I didn’t know that. I think specificity is important for the liberation of all groups. What’s next on your food journey?\u003c/b>\u003c/p>\n\u003cp>It feels good to see where I’ve gone without any [formal] cooking background. I’ve cooked with my family throughout my life, but by figuring out how to make food to order and things like that, I’ve made progress. I’m always wondering: What feels good? How do I want to move forward? What that means for me right now is I’ll probably move away from the pop-up format and go into farmers markets and package my food and eventually keep building toward my brick-and-mortar grocery and deli. When I first started out I didn’t have the intention of it being a full-blown food project, but it went on that trajectory.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ca href=\"https://www.mishmishsouq.com/\">\u003ci>Mishmish\u003c/i>\u003c/a>\u003ci> operates as a roaming pop-up around the Bay Area. \u003c/i>\u003ca href=\"https://www.instagram.com/mishmishsouq/?hl=en\">\u003ci>Check online\u003c/i>\u003c/a>\u003ci> for updates on locations and menus. They appear every second Sunday of the month at Birba Wine Bar (458 Grove St., San Francisco) from 1–8 p.m. They will also pop up at\u003c/i> \u003ci>Millennium Restaurant (5912 College Ave., Oakland) on Sun., May 21 from 11 a.m. to 2 p.m., and Abacus Row (1256 Mason St., San Francisco) on Sat., June 24, time TBD.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"Michelle Nazzal is expanding the Bay Area's vocabulary of Palestinian food beyond the usual hummus and shawarma.","status":"publish","parent":0,"modified":1705005569,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":37,"wordCount":2277},"headData":{"title":"Mishmish Reimagines Family-Style Palestinian Bites for Bay Area Vegans | KQED","description":"Michelle Nazzal is expanding the Bay Area's vocabulary of Palestinian food beyond the usual hummus and shawarma.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"source":"¡HELLA HUNGRY!","sourceUrl":"https://www.kqed.org/arts/tag/hella-hungry","sticky":false,"excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13928345/mishmish-vegan-palestinian-pop-up","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cb>\u003ci>¡Hella Hungry! is a column about Bay Area foodmakers, exploring the region’s culinary cultures through the mouth of a first-generation local.\u003c/i>\u003c/b>\u003c/p>\n\u003cp>I love the East Bay. On a spring afternoon, you can wander into an Oakland punk bar with an outdoor patio to enjoy a cocktail with a longtime friend and discuss the rise of artificial intelligence with a stranger at your table — all while sharing plates of fattoush (an Arabic salad) and foul medammes (a fava bean dip served with oil and pita bread) beneath the hazy sun.\u003c/p>\n\u003cp>Slow moments like this are welcomed in our fast-paced world — a chance to check in, make new connections and nourish a sense of self-care and community through an exchange of cultural lessons and life experiences. And, at least for this particular dive bar pop-up, \u003ca href=\"https://www.instagram.com/mishmishsouq/\">Mishmish\u003c/a> — Michelle Nazzal’s take on vegan Palestinian recipes with a Bay Area lens — is at the center of it all.\u003c/p>\n\u003cp>Historically, \u003ca href=\"https://decolonizepalestine.com/intro/palestine-throughout-history/\">Palestine and its diaspora have had to fight to resist erasure and preserve their identity\u003c/a>. Nazzal’s grandparents immigrated from Palestine to San Francisco in the 1960s, and her family has long used food as a way to sustain themselves and those around them. After opening Arabic markets around the city, the family eventually moved to Petaluma, where Nazzal grew up taking notes on her grandmother’s cooking.\u003c/p>\n\u003cp>For Nazzal, who is mixed white and Palestinian, food transcends a mere meal. Instead, it becomes a way to acknowledge the resilience of others, a conduit to pass down sacred knowledge and a gathering point for intergenerational optimism.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>After stopping by \u003ca href=\"https://www.instagram.com/elismilehighclub/\">Eli’s Mile High Club\u003c/a> — where the pop-up ran throughout April — to experience Mishmish, I asked Nazzal about her connection to Palestine, Northern California and her grandmother’s recipes.\u003c/p>\n\u003cp>\u003ci>This interview has been edited for length and clarity.\u003c/i>\u003c/p>\n\u003cp style=\"text-align: center\">********\u003c/p>\n\u003cp>\u003cb>Alan Chazaro: Let’s start with “Mishmish.” What does that concept mean for you, and how did it turn into a food pop-up?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Michelle Nazzal: \u003c/b>It’s something that’s very personal to me. It means “apricot” in Arabic. [But it’s also] a nickname my grandpa gave me as a kid. People in my family call me that.\u003c/p>\n\u003cp>When I was putting together Mishmish, it started out in a different format. I was a graphic designer [at the time] and I was thinking of ways to document food. I spent time with my grandma and wanted to catalog it. It started out as a [PDF] cookbook project, a personal thing with family photos and things like that. It sort of became a thing where I made food for friends, and they asked if I had a pop-up. My parents had a grocery and deli around San Francisco but I hadn’t thought about getting into making food. It’s different [from the family’s market]. It’s Palestinian and vegan. A lot of Palestinian food is innately vegan, but I took time to change recipes that are usually meat-centric. It started out in 2021.\u003c/p>\n\u003cfigure id=\"attachment_13928353\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13928353\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/uag2vFZW.jpg-large.jpeg\" alt=\"a tray of Palestinian food is served at an outdoor patio in Oakland\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/uag2vFZW.jpg-large.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/uag2vFZW.jpg-large-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/uag2vFZW.jpg-large-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/uag2vFZW.jpg-large-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/uag2vFZW.jpg-large-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/uag2vFZW.jpg-large-1536x1024.jpeg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Foul medammes and fattoush served with a sweet pastry and pita bread. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In thinking about how I want Mishmish to feel, it’s welcoming and community-based. Providing things that are authentic and mostly traditional and hard to find, things I grew up with that are weird and niche, like jameed, a dried yogurt ball. It’s a really big process, but there’s no vegan version of that. I want to figure that out and offer it. Having my own twist on things that I’ve discovered and played around with as a vegan [that incorporate] other Arabic flavors as well.\u003c/p>\n\u003cp>\u003cb>Are apricots common in Palestinian food?\u003c/b>\u003c/p>\n\u003cp>Apricots are used frequently in desserts. You can get it in Turkish delight, puddings are made from or topped with it, compotes, jams. [It’s used] as a sweet component. There’s also a saying in Arabic, “Bukra fil mish-mish.” The season for apricots is so quick. They ripen and go bad really quickly. It’s a saying everyone always says. It’s like saying “when pigs fly.”\u003c/p>\n\u003cp>\u003cb>When did your family migrate from Palestine to the Bay Area, and in what ways has food been passed on throughout that transition?\u003c/b>\u003c/p>\n\u003cp>I grew up with this food because of my grandma. My grandparents immigrated here in the ‘60s with a rich culture and background and all their recipes. When \u003ca href=\"https://www.history.com/this-day-in-history/u-n-votes-for-partition-of-palestine\">the partition happened in the ‘40s\u003c/a>, my grandma was expelled from the land, which is now Tel Aviv. They decided they wanted to give the family a bit of a better life. A lot of [Palestinians] moved in the ‘60s. My family moved directly to San Francisco, around Cole Valley. They lived in one building, one family per floor, but all our family was together. My dad got to grow up with his first cousins in the same building.\u003c/p>\n\u003cfigure id=\"attachment_13928382\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13928382\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/Tete_RichmondMarket-1.jpg\" alt='Old black-and-white photo of a woman standing inside a deli/market; a neon sign in back reads, \"Burgie!\"' width=\"1920\" height=\"1321\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Tete_RichmondMarket-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Tete_RichmondMarket-1-800x550.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Tete_RichmondMarket-1-1020x702.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Tete_RichmondMarket-1-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Tete_RichmondMarket-1-768x528.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Tete_RichmondMarket-1-1536x1057.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Nazzal’s grandmother, Laurain Nazzal, inside the market her family used to run at 41st and Balboa in San Francisco. \u003ccite>(Courtesy of Michelle Nazzal)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>My grandma grew up on a farm in Jericho, raising her food and livestock. The perspective she brings to [foodmaking] is from her region. My grandma taught me how to break down a vegetable or animal [because] it all has a purpose. We honor it. There’s something special about that. She showed me how to make a lot of things fully from scratch. There’s a tenderness and slowness to that. It can take multiple days; it’s involved and hands-on to prepare a big dish. It’s so community-based and community-oriented. Palestinians have a connection to the soil and agriculture which has been passed down through generations.\u003c/p>\n\u003cp>Growing up in the diaspora and having never gone to Palestine has been challenging, so my direct connection is through food and recipes. That’s how I connect to ancestral things I’ve inherited from my family.\u003c/p>\n\u003cp>\u003cb>Why is it important for you to serve Palestinian food in today’s Bay Area?\u003c/b>\u003c/p>\n\u003cp>There’s so much erasure happening with Palestine — the people, culture, land. Being in diaspora, you’re one step removed from everything, and the further you get and water it down, the more it gets diluted and starts disappearing. In the diaspora, it’s a good idea for us to represent those roots.\u003c/p>\n\u003cfigure id=\"attachment_13928383\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13928383\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/mishmish_nazzal.jpg\" alt=\"Tattooed woman wearing black plastic gloves prepares a plate of rice inside a restaurant kitchen.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/mishmish_nazzal.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/mishmish_nazzal-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/mishmish_nazzal-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/mishmish_nazzal-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/mishmish_nazzal-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/mishmish_nazzal-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Nazzal says she wants to introduce diners to Palestinian dishes that go beyond the usual hummus and shawarma. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>My family comes from a Christian background, and there are a lot of Christian Palestinians in the Bay — especially in San Francisco, San Jose. If we went to a market, we knew people were Palestinian but it was never broadly announced. It’s challenging to honor your background as a small business owner, making sure it doesn’t affect your business. It was more challenging perhaps to do that back then, but it’s important to me to make that an essential part of what I’m doing. I don’t shy away from it. I have a punk and anarchist background so it’s important to honor that. Sharing my food, that’s important. Removing Palestine from it isn’t doing justice to the sacrifices my family has made.\u003c/p>\n\u003cp>\u003cb>What challenges have you faced as a Palestinian American food maker?\u003c/b>\u003c/p>\n\u003cp>When people think of places like the Arab region there tends to be a stereotype about the people or how the food will taste. With Arab food people default to shawarma, falafel, hummus. But there’s so much nuance to our food. It’s challenging when you have a pop-up because there are certain expectations to [serve] things like hummus. But I don’t always want to give that to people. I want to share dishes I grew up with that are special to me.\u003c/p>\n\u003cp>\u003cb>What’s the most popular item you serve at Mishmish? And what’s an example of a traditional Palestinian dish that represents comfort for you?\u003c/b>\u003c/p>\n\u003cfigure id=\"attachment_13928355\" class=\"wp-caption alignright\" style=\"max-width: 1366px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13928355\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/5HOA9KqO.jpg-large.jpeg\" alt=\"\" width=\"1366\" height=\"2048\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/5HOA9KqO.jpg-large.jpeg 1366w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/5HOA9KqO.jpg-large-800x1199.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/5HOA9KqO.jpg-large-1020x1529.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/5HOA9KqO.jpg-large-160x240.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/5HOA9KqO.jpg-large-768x1151.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/5HOA9KqO.jpg-large-1025x1536.jpeg 1025w\" sizes=\"(max-width: 1366px) 100vw, 1366px\">\u003cfigcaption class=\"wp-caption-text\">Bazella, a carrot and green pea stew, served at Mishmish. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>My cashew labneh is a big hit. People who are lactose intolerant or maybe have never had labneh before love it. I’ve been a vegetarian for a long time and went vegan five or six years ago. I had to figure out how to replace knafeh, which is a cheese-based dessert, and labneh [with vegan substitutes]. That’s really special for me to share with people who have a similar background to experience and invoke those memories, but also for those who haven’t had it before to introduce those flavors.\u003c/p>\n\u003cp>Depending upon where you’re from in Palestinian, there are very regional dishes. Labneh is, traditionally, yogurt that has been salted over time and fermented for over a week or so. Knafeh is very Palestinian, from Nablus. My family uses sweet and salty cheese and dough, like shredded filo, with orange powder and butter for a crunchy effect. It gets baked and dusted in sugar — it’s syrupy, very sweet, salty, crunchy. Depending on which region you’re from, they will make it differently. In Gaza they don’t use cheese; they make more of a baklava filling with spiced walnuts and pistachios. But it’s specifically Palestinian.\u003c/p>\n\u003cp>There are variations [of similar dishes in other regions]. Labneh, hummus, falafel — a lot of people in Lebanon, Syria, Iraq and Yemen, they all make similar food. But it’s important to highlight things that are specific to your culture, to make those differentiations. That’s important to me with Mishmish — to make dishes that have inspirations, maybe from Persian food or other Arab countries that are adjacent to Palestine, but I want to make sure to make that differentiation.\u003c/p>\n\u003cfigure id=\"attachment_13928354\" class=\"wp-caption alignleft\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13928354\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/KU86MpD2.jpg-medium.jpeg\" alt=\"a menu for Mishmish, a Palestinian pop-up, offers a variety of family-style plates\" width=\"750\" height=\"1104\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/KU86MpD2.jpg-medium.jpeg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/KU86MpD2.jpg-medium-160x236.jpeg 160w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">Mishmish offers a rotating array of Palestinian and SSWANA-inspired vegan foods. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>How has growing up in San Francisco and Petaluma influenced your approach to food?\u003c/b>\u003c/p>\n\u003cp>I sometimes take special trips around the Bay to get something I’m specifically looking for. I remember being a kid and taking Muni with my grandma and going to different Filipino vendors to find things that are similar in our cultures. My grandma would find the closest possible thing to use in her cooking. That’s really special — being able to adapt and support other people and cultures. It’s a cool cross-cultural way of honoring food. It gives you a wider appreciation.\u003c/p>\n\u003cp>A few businesses here are an inspiration for me. \u003ca href=\"https://www.instagram.com/queens_sf/?hl=en\">Queens\u003c/a> in San Francisco, a Korean market. They make and vend Korean foods and ingredients you can’t really find anywhere else. \u003ca href=\"https://www.instagram.com/reemscalifornia/\">Reem’s\u003c/a>, of course, is an amazing Arab street food place and bakery. I love their idea of creating equitable workplaces for people. That’s important to how I structure my business and how I want to hire and provide a safe work environment for people who are paid well. I also like \u003ca href=\"https://www.instagram.com/liondancecafe/\">Lion Dance\u003c/a> — they’re a vegan Singaporean restaurant here in Oakland. I appreciate their approach. One of the owners is Singaporean and the other is Italian, so they’ve created a beautiful menu that honors the authenticity of their foods and cultures. I celebrate that and want to see that more for SSWANA people.\u003c/p>\n\u003cp>\u003cb>What’s SSWANA?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13918017,arts_13925984,arts_13920581","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003ca href=\"https://www.kqed.org/arts/13918017/jeweled-rice-art-persian-food-sswana-middle-eastern-pop-up\">SSWANA\u003c/a> means South Asian, Southwest Asian and North African. When you think of Middle Eastern versus SSWANA, SSWANA is actually more accurate. Middle Eastern is a colonized word and term that was created by people who aren’t Arab. I’m trying to help change that narrative by changing my vocabulary. I’ve had a wild experience filling out my ethnicity on census forms.\u003c/p>\n\u003cp>\u003cb>That’s dope, I didn’t know that. I think specificity is important for the liberation of all groups. What’s next on your food journey?\u003c/b>\u003c/p>\n\u003cp>It feels good to see where I’ve gone without any [formal] cooking background. I’ve cooked with my family throughout my life, but by figuring out how to make food to order and things like that, I’ve made progress. I’m always wondering: What feels good? How do I want to move forward? What that means for me right now is I’ll probably move away from the pop-up format and go into farmers markets and package my food and eventually keep building toward my brick-and-mortar grocery and deli. When I first started out I didn’t have the intention of it being a full-blown food project, but it went on that trajectory.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.mishmishsouq.com/\">\u003ci>Mishmish\u003c/i>\u003c/a>\u003ci> operates as a roaming pop-up around the Bay Area. \u003c/i>\u003ca href=\"https://www.instagram.com/mishmishsouq/?hl=en\">\u003ci>Check online\u003c/i>\u003c/a>\u003ci> for updates on locations and menus. They appear every second Sunday of the month at Birba Wine Bar (458 Grove St., San Francisco) from 1–8 p.m. They will also pop up at\u003c/i> \u003ci>Millennium Restaurant (5912 College Ave., Oakland) on Sun., May 21 from 11 a.m. to 2 p.m., and Abacus Row (1256 Mason St., San Francisco) on Sat., June 24, time TBD.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13928345/mishmish-vegan-palestinian-pop-up","authors":["11748"],"categories":["arts_1","arts_12276"],"tags":["arts_2546","arts_10278","arts_1297","arts_17573","arts_18436","arts_1143","arts_3231","arts_5826","arts_14089","arts_14087"],"featImg":"arts_13928357","label":"source_arts_13928345"},"arts_13920076":{"type":"posts","id":"arts_13920076","meta":{"index":"posts_1591205157","site":"arts","id":"13920076","score":null,"sort":[1665159320000]},"guestAuthors":[],"slug":"provecho-oakland-oaxacan-pop-up-eder-ramirez-hella-hungry","title":"Oaxacan Elegance Is the Highlight at This Mexican American Pop-Up","publishDate":1665159320,"format":"standard","headTitle":"Oaxacan Elegance Is the Highlight at This Mexican American Pop-Up | KQED","labelTerm":{},"content":"\u003cp>\u003cb>\u003ci>¡Hella Hungry! is a column about Bay Area foodmakers, exploring the region’s culinary cultures through the mouth of a first-generation local.\u003c/i>\u003c/b>\u003c/p>\n\u003cp>Mexican food in the United States often gets simplified into a handful of basic, delicious categories: tacos, burritos and maybe tamales or enchiladas.\u003c/p>\n\u003cp>But if you peel away the regional layers of Mexican cuisine, you’ll begin to discover the limitless multiverses that exist. Corn or flour tortillas? Salsa-bathed burrito or grilled? Corn husk or banana leaf to wrap your tamales? Stewed or deep fried chicharron? And that doesn’t even begin to scratch the surface. In truth, Mexico is one of the most complex culinary regions of the world: Each pueblo or city has its own palate of flavors, techniques and local ingredients.\u003c/p>\n\u003cp>Perhaps more than any other region, Oaxaca is a delicious microcosm of this wildly vast kaleidoscope. From specialty sauces like Oaxacan black mole to pizza-like tlayudas, Oaxaca is viewed, within Mexico, as the country’s gem of culinary tradition, serving dishes that can only be found along the country’s southern coast.\u003c/p>\n\u003cp>As the rich flavors of Oaxacan food have gained an international following, chefs like Ramirez who have familial ties to that region feel an even deeper connection to the cuisine — and a desire to maintain the area’s indigenous history.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It’s about pride, hella pride,” says chef Eder Ramirez, who runs a \u003ca href=\"https://www.instagram.com/pro_ve_cho/\">Oaxacan-inspired food pop-up, Provecho\u003c/a>, around the Bay Area. “As soon as I think about what it means to be Oaxacan, culturally, it’s pride. Our food is a part of that.”\u003c/p>\n\u003cfigure id=\"attachment_13920078\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13920078\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/provecho_eder_ramirez_alanchazaro-800x533.jpg\" alt=\"Chef Eder Ramirez stands in the kitchen while giving a peace sign\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/provecho_eder_ramirez_alanchazaro-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/provecho_eder_ramirez_alanchazaro-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/provecho_eder_ramirez_alanchazaro-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/provecho_eder_ramirez_alanchazaro-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/provecho_eder_ramirez_alanchazaro-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/provecho_eder_ramirez_alanchazaro-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/provecho_eder_ramirez_alanchazaro-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chef Eder Ramirez showcases his pride inside Low Bar’s kitchen. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>His boldness and passion for Oaxacan traditions come across in the risks he takes in the kitchen. Known for experimentally-savvy dishes like confit leg of lamb with mint mole or pilte de pollo envuelto en yerba santa (chicken marinated in Mexican mother sauce, wrapped in yerba santa and encased in banana leaf), Ramirez is putting a multicultural, Northern Californian touch on family favorites.\u003c/p>\n\u003cp>I linked up with the Bay Area-based Oaxaqueño to learn about his connection to his homeland and how he uses Oaxacan inspiration to feed his community. Like Mexicans always say before enjoying a delicious meal, “provecho.”\u003c/p>\n\u003cp>\u003ci>This interview has been edited for length and clarity.\u003c/i>\u003c/p>\n\u003cp style=\"text-align: center\">********\u003c/p>\n\u003cp>\u003cb>KQED: How would you explain Oaxacan food for those who are unfamiliar with that region of Southern Mexican cuisine? We’re not just talking about tacos and burritos here.\u003c/b>\u003c/p>\n\u003cp>Southern Mexican food is personally my favorite. Oaxaca, but also the Yucatan. They have so many wild things that most people don’t know about — wild flavors. It’s special. They’re not heavily colonized so they’re not filled with bread and tons of fat. It relies more on herbs and freshness. It’s not as greasy. It’s floral. It’s hoja santa, hoja de agucate. It’s the difference of our pipian [a mole-like paste that uses pumpkin seeds and puréed greens] from others. Our pipian uses hoja santa. We also like to use guajes [river tamarind]; it’s a long pod, like a bean, but it’s a seed. These flavors are so unique. They almost seem foreign. That’s Oaxacan food for me.\u003c/p>\n\u003cp>\u003cb>What’s your connection to Oaxaca and how do you use that to inspire your work as a chef who serves a mix of clientele in the Bay Area?\u003c/b>\u003c/p>\n\u003cp>I’m from Madera in Central California — I was born here [in California] but got family over there [in Oaxaca]. I have immediate family there, in the Mixteca region. It’s funny, I have this one inspiration, Enrique Rivera, who was one of the first to put Mexican food on TV. He said, “I don’t need to make my grandmother’s dish.” I feel the same. He inspired me to think about Mexican food as something that can be elevated, not just tacos. At its core what I’m making is Oaxacan, but I’m also Californian. They are similar places in many ways. It’s about being resourceful with the bounty around you. Nowadays, everyone is getting their culinary game from Oaxaca. There’s a lot of hype for that region. But I didn’t know how special it all was until I left my home.\u003c/p>\n\u003cfigure id=\"attachment_13920079\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13920079\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/provecho_ceviche_alanchazaro-800x1200.jpg\" alt=\"a white plate of raw tuna fish with floral and fruit garnishes\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/provecho_ceviche_alanchazaro-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/provecho_ceviche_alanchazaro-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/provecho_ceviche_alanchazaro-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/provecho_ceviche_alanchazaro-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/provecho_ceviche_alanchazaro-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/provecho_ceviche_alanchazaro-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/provecho_ceviche_alanchazaro-1920x2880.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/provecho_ceviche_alanchazaro-scaled.jpg 1707w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tuna, passion fruit leche de tigre, kumquat and gooseberries are an example of elevated Oaxacan inspiration. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>When did you fall in love with cooking? When did it become your profession?\u003c/b>\u003c/p>\n\u003cp>Growing up, I always helped my grandmother — most of my family grew up doing farm labor — but my grandma was in the kitchen, making masa. I saw it as a chore. Once I arrived in the Bay Area in 2007, when I was 21, I started cooking for myself. Simple things: Trader Joe’s groceries. I was fresh here in San Francisco, a typical 20 year old, eating out. Going to the Mission to eat Mexican food — Farolito, Guadalajara. It felt different to me. What hit is that the Mexican food here just wasn’t the same. I don’t want to talk shit, but in the Valley, it’s a straight influx of Mexicans. It tastes like home cooking. Here, it didn’t feel like that to me. So I called my mom and spoke with my grandma to ask how to make certain dishes.\u003c/p>\n\u003cp>Around that time, I moved into a vegan household. I started trying more things, using meat substitutes. There weren’t too many vegan restaurants at the time back then. My journey started because I needed to cook for myself. How do I make a chile relleno but vegan? It pushed me to make food that is supposed to be super fatty but making it healthy. How do you do that? It was all home cooking.\u003c/p>\n\u003cp>I came to the Bay to do art, and I consider myself to be an artist still. I bounced around until a chef friend of mine invited me to work with her in 2016 at B Restaurant and Bar. They were doing oyster events, and it was all Mexicans and Central Americans in the kitchen. They took me in and put me on. I was watching YouTube; I didn’t go to culinary school. I was very creative and I wanted to learn. I get nerdy and obsess over things I want to become good at. The chef there gave me a chance as a line cook. I learned each day by just jumping in headstrong, without any formal training in restaurants.\u003c/p>\n\u003cp>After that, it felt really cool. It took off and I blossomed from there. My friends who were doing art shows asked me to sell food at their events. You just gotta have that Bay Area grind mentality where you’re working but also doing side work. I came up with a quick name [at the time]: Cocina Maiz. After that it became something I really liked and I started popping up regularly at \u003ca href=\"https://www.instagram.com/elismilehighclub/\">Eli’s Mile High Club\u003c/a>. If you want it, you can go get it. I just made it happen.\u003c/p>\n\u003cp>\u003cb>You add dashes of fusion to your dishes. What are some examples of dishes you’ve made that explore these cultural remixes, and why is that important to you?\u003c/b>\u003c/p>\n\u003cp>Technique is important. Watching my grandmother and remembering her cooking process — if you’ve been to a rancho, that is hard work. Making masa? That’s so much labor. And that’s just one aspect. You also have salsas and all that stuff. I gained all that growing up. Once I started working in other spaces, I began to learn other tools and techniques, like French fine dining or fast casual. That involved OG French brigade style. I learned about new things I was capable of making.\u003c/p>\n\u003cp>My oxtail dish, for example, that’s a very French thing to do. It’s braised with mezcal. I grew up eating caldo de res with bones in the soup. That’s Mexican. But the French thing to do is cutting it lengthwise and maybe add green sauce. I found that to be cool, but how would I do that with Mexican rice? So I made lamb chops with green mole — that felt European to me, lamb chops with mint sauce. Mexicans eat lamb, too — barbacoa, birria. But it’s prepared differently. We grew up eating borrego cooked in holes in the earth. But how can I do that in other contexts, Americanized? You’re constantly translating. You’re using other techniques for these things.\u003c/p>\n\u003cp>I just also happen to love Japanese food, so I allow that to pop up as tempura Baja tacos. There’s a lot of intersection with other cultures, and I want that to hit on that. I’m always trying to figure out how to do shit I like and bring that over into Mexican food without making it look like a Chevy’s (laughs).\u003c/p>\n\u003cfigure id=\"attachment_13920080\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13920080\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/provecho_memela_alanchazaro-800x1200.jpg\" alt=\"a blue plate displays a Oaxacan empanada, which resembles a Mexican quesadilla\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/provecho_memela_alanchazaro-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/provecho_memela_alanchazaro-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/provecho_memela_alanchazaro-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/provecho_memela_alanchazaro-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/provecho_memela_alanchazaro-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/provecho_memela_alanchazaro-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/provecho_memela_alanchazaro-1920x2880.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/provecho_memela_alanchazaro-scaled.jpg 1707w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Provecho’s Oaxacan empanada is a quesadilla with quesillo and pistachio salsa macha. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>You use the phrase “Native powered” on social media. I’m drawn to it. What does that concept mean for you?\u003c/b>\u003c/p>\n\u003cp>There’s different areas in Oaxaca. There are about eight areas. The two biggest groups are Mixtec and Zapotec. You’ll see lots of villages speaking indigenous languages there. My parents weren’t taught Mixteco, but I had family members who spoke Mixteco and Trique, which is a dialect of Mixteco. So I grew up around that. But because of heavy racism in the States, I felt ashamed of these things. I wouldn’t even want to wear my huaraches. Unless you have a strong circle of elders to tell you it’s OK, most of us don’t feel connected to those traditions here in the U.S. We don’t have the time to articulate our feelings.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[pullquote size=\"large\" align=\"right\" citation=\"Eder Ramirez, Provecho\"]“We are byproducts of our ancestors, and it’s ingrained in our DNA to know certain things. … My way of teaching or showing or offering to others is to preserve culture, and for me, it’s through food. It’s gonna be Mexican as fuck.”[/pullquote]\u003c/span>It wasn’t until I got older and started educating myself, reading and researching about people who resisted. That’s what native powered means to me. A resistance. In the U.S. and Mexico, we don’t always see ourselves as indigenous. Some “Whitexicans” might want to claim their Spanish side more. But for me, Mexico is the world’s biggest reservation. Once you delve past the ritzy hotel towns, you see what it is. Once you get to these areas, you get to your ancestors. Milpas are where you grow corn, beans, squash — replenishing the Earth without destroying the soil. It’s the way to grow symbiotically. It’s everywhere in Mexico, and it looks like a mess, but it’s synergy.\u003c/p>\n\u003cp>That’s all about education, sharing, representation, connecting with the youth. Everyone has their gifts. We are byproducts of our ancestors, and it’s ingrained in our DNA to know certain things. They’re memories passed on. My way of teaching or showing or offering to others is to preserve culture, and for me, it’s through food. It’s gonna be Mexican as fuck.\u003c/p>\n\u003cp>\u003cb>Memelas are a common Oaxacan dish you make. What are they?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[aside postID='arts_13919032,arts_13896221,arts_13913592']\u003c/span>I didn’t eat memelas growing up. I serve them, but because, since when you talk about Mexican food there’s so many regions, this is Oaxacan. When you get to Oaxaca, it goes even further into more regions. You have your moles, tlayudas, memelas, mezcal. That’s Oaxaca to most people. But every region in Oaxaca has their own ways of doing all of this.\u003c/p>\n\u003cp>Memelas are like picadas, or picadas Veracruzanas. It’s a thick tortilla with pinched sides, almost like a sope [a Mexican dish of a fried masa with mixed toppings; imagine an open-faced pupusa]. [Memelas are] even thinner, with pinched sides and a canal in the middle. You can eat them for breakfast or lunch. You add a little bit of oil and a Oaxacan lard mixed with pieces of chicharon, called asiento.Then some salsa y queso. I wanted to bring that, I wanted that to be my shit. My menu rotates, but I was told I should keep an item or two for consistency. Memelas are here to stay, and they’re Oaxacan.\u003c/p>\n\u003cp>\u003cb>How has the Bay Area influenced your cooking as a Mexican American?\u003c/b>\u003c/p>\n\u003cp>It’s not something I overtly think about, but it’s inherent in where I am. I’m using ingredients that are grown an hour north of me, in the North Bay. I get my fish from this region, too. And these things I make? They are sometimes a little extra. I’m doing a smoked pork belly taco… c’mon that’s extra as fuck. And what’s more extra than Bay Area culture? Bay Area culture is the most. You gotta have attitude; it’s not for the meek. You gotta have sazon in your energy. I can be calm and super chill, but when I do food, I am the most. I eat food like a motherfucker. Eating in East Oakland, everywhere.\u003c/p>\n\u003cp>You just get influenced by friends, by love, by your surroundings, and that’s all the Bay: this beautiful landscape. You drive past that gnarly part of the [Highway] 80 near Emeryville, then there’s this fuckin’ beautiful water right next to you. I pay a tax to be somewhere dope, and this place provides that. It shows up in what I cook.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/pro_ve_cho/\">\u003ci>Provecho\u003c/i>\u003c/a>\u003ci> rotates locations weekly. Tuesdays at \u003c/i>\u003ca href=\"https://www.instagram.com/lowbaroakland/\">\u003ci>Low Bar\u003c/i>\u003c/a>\u003ci> (2300 Webster St., Oakland) from 5 p.m. until sell out. One Friday every month at \u003c/i>\u003ca href=\"https://www.instagram.com/crybabyoakland/\">\u003ci>Cry Baby\u003c/i>\u003c/a>\u003ci> (1928 Telegraph Ave., Oakland) from 5 p.m. until sell out. Supper Club, in Rockridge, is Ramirez’s monthly underground food event; \u003c/i>\u003ca href=\"https://www.instagram.com/p/CinqZmZP4h9/?utm_source=ig_web_copy_link\">\u003ci>limited tickets\u003c/i>\u003c/a>\u003ci> must be purchased in advance. He also serves private meal orders.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"Provecho chef Eder Ramirez leans into Oaxacan pride with his menu of memelas, pilte de pollo and other 'elevated' regional dishes.","status":"publish","parent":0,"modified":1705006290,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":36,"wordCount":2484},"headData":{"title":"Provecho, a Mexican American Pop-Up in Oakland, Serves Oaxacan Elegance | KQED","description":"Provecho chef Eder Ramirez leans into Oaxacan pride with his menu of memelas, pilte de pollo and other 'elevated' regional dishes.","ogTitle":"Oaxacan Elegance Is the Highlight at This Mexican American Pop-Up","ogDescription":"","ogImgId":"","twTitle":"Oaxacan Elegance Is the Highlight at This Mexican American Pop-Up","twDescription":"","twImgId":"","socialTitle":"Provecho, a Mexican American Pop-Up in Oakland, Serves Oaxacan Elegance %%page%% %%sep%% KQED"},"source":"¡HELLA HUNGRY!","sourceUrl":"https://www.kqed.org/arts/tag/hella-hungry","sticky":false,"excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13920076/provecho-oakland-oaxacan-pop-up-eder-ramirez-hella-hungry","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cb>\u003ci>¡Hella Hungry! is a column about Bay Area foodmakers, exploring the region’s culinary cultures through the mouth of a first-generation local.\u003c/i>\u003c/b>\u003c/p>\n\u003cp>Mexican food in the United States often gets simplified into a handful of basic, delicious categories: tacos, burritos and maybe tamales or enchiladas.\u003c/p>\n\u003cp>But if you peel away the regional layers of Mexican cuisine, you’ll begin to discover the limitless multiverses that exist. Corn or flour tortillas? Salsa-bathed burrito or grilled? Corn husk or banana leaf to wrap your tamales? Stewed or deep fried chicharron? And that doesn’t even begin to scratch the surface. In truth, Mexico is one of the most complex culinary regions of the world: Each pueblo or city has its own palate of flavors, techniques and local ingredients.\u003c/p>\n\u003cp>Perhaps more than any other region, Oaxaca is a delicious microcosm of this wildly vast kaleidoscope. From specialty sauces like Oaxacan black mole to pizza-like tlayudas, Oaxaca is viewed, within Mexico, as the country’s gem of culinary tradition, serving dishes that can only be found along the country’s southern coast.\u003c/p>\n\u003cp>As the rich flavors of Oaxacan food have gained an international following, chefs like Ramirez who have familial ties to that region feel an even deeper connection to the cuisine — and a desire to maintain the area’s indigenous history.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It’s about pride, hella pride,” says chef Eder Ramirez, who runs a \u003ca href=\"https://www.instagram.com/pro_ve_cho/\">Oaxacan-inspired food pop-up, Provecho\u003c/a>, around the Bay Area. “As soon as I think about what it means to be Oaxacan, culturally, it’s pride. Our food is a part of that.”\u003c/p>\n\u003cfigure id=\"attachment_13920078\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13920078\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/provecho_eder_ramirez_alanchazaro-800x533.jpg\" alt=\"Chef Eder Ramirez stands in the kitchen while giving a peace sign\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/provecho_eder_ramirez_alanchazaro-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/provecho_eder_ramirez_alanchazaro-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/provecho_eder_ramirez_alanchazaro-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/provecho_eder_ramirez_alanchazaro-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/provecho_eder_ramirez_alanchazaro-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/provecho_eder_ramirez_alanchazaro-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/provecho_eder_ramirez_alanchazaro-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chef Eder Ramirez showcases his pride inside Low Bar’s kitchen. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>His boldness and passion for Oaxacan traditions come across in the risks he takes in the kitchen. Known for experimentally-savvy dishes like confit leg of lamb with mint mole or pilte de pollo envuelto en yerba santa (chicken marinated in Mexican mother sauce, wrapped in yerba santa and encased in banana leaf), Ramirez is putting a multicultural, Northern Californian touch on family favorites.\u003c/p>\n\u003cp>I linked up with the Bay Area-based Oaxaqueño to learn about his connection to his homeland and how he uses Oaxacan inspiration to feed his community. Like Mexicans always say before enjoying a delicious meal, “provecho.”\u003c/p>\n\u003cp>\u003ci>This interview has been edited for length and clarity.\u003c/i>\u003c/p>\n\u003cp style=\"text-align: center\">********\u003c/p>\n\u003cp>\u003cb>KQED: How would you explain Oaxacan food for those who are unfamiliar with that region of Southern Mexican cuisine? We’re not just talking about tacos and burritos here.\u003c/b>\u003c/p>\n\u003cp>Southern Mexican food is personally my favorite. Oaxaca, but also the Yucatan. They have so many wild things that most people don’t know about — wild flavors. It’s special. They’re not heavily colonized so they’re not filled with bread and tons of fat. It relies more on herbs and freshness. It’s not as greasy. It’s floral. It’s hoja santa, hoja de agucate. It’s the difference of our pipian [a mole-like paste that uses pumpkin seeds and puréed greens] from others. Our pipian uses hoja santa. We also like to use guajes [river tamarind]; it’s a long pod, like a bean, but it’s a seed. These flavors are so unique. They almost seem foreign. That’s Oaxacan food for me.\u003c/p>\n\u003cp>\u003cb>What’s your connection to Oaxaca and how do you use that to inspire your work as a chef who serves a mix of clientele in the Bay Area?\u003c/b>\u003c/p>\n\u003cp>I’m from Madera in Central California — I was born here [in California] but got family over there [in Oaxaca]. I have immediate family there, in the Mixteca region. It’s funny, I have this one inspiration, Enrique Rivera, who was one of the first to put Mexican food on TV. He said, “I don’t need to make my grandmother’s dish.” I feel the same. He inspired me to think about Mexican food as something that can be elevated, not just tacos. At its core what I’m making is Oaxacan, but I’m also Californian. They are similar places in many ways. It’s about being resourceful with the bounty around you. Nowadays, everyone is getting their culinary game from Oaxaca. There’s a lot of hype for that region. But I didn’t know how special it all was until I left my home.\u003c/p>\n\u003cfigure id=\"attachment_13920079\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13920079\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/provecho_ceviche_alanchazaro-800x1200.jpg\" alt=\"a white plate of raw tuna fish with floral and fruit garnishes\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/provecho_ceviche_alanchazaro-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/provecho_ceviche_alanchazaro-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/provecho_ceviche_alanchazaro-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/provecho_ceviche_alanchazaro-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/provecho_ceviche_alanchazaro-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/provecho_ceviche_alanchazaro-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/provecho_ceviche_alanchazaro-1920x2880.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/provecho_ceviche_alanchazaro-scaled.jpg 1707w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tuna, passion fruit leche de tigre, kumquat and gooseberries are an example of elevated Oaxacan inspiration. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>When did you fall in love with cooking? When did it become your profession?\u003c/b>\u003c/p>\n\u003cp>Growing up, I always helped my grandmother — most of my family grew up doing farm labor — but my grandma was in the kitchen, making masa. I saw it as a chore. Once I arrived in the Bay Area in 2007, when I was 21, I started cooking for myself. Simple things: Trader Joe’s groceries. I was fresh here in San Francisco, a typical 20 year old, eating out. Going to the Mission to eat Mexican food — Farolito, Guadalajara. It felt different to me. What hit is that the Mexican food here just wasn’t the same. I don’t want to talk shit, but in the Valley, it’s a straight influx of Mexicans. It tastes like home cooking. Here, it didn’t feel like that to me. So I called my mom and spoke with my grandma to ask how to make certain dishes.\u003c/p>\n\u003cp>Around that time, I moved into a vegan household. I started trying more things, using meat substitutes. There weren’t too many vegan restaurants at the time back then. My journey started because I needed to cook for myself. How do I make a chile relleno but vegan? It pushed me to make food that is supposed to be super fatty but making it healthy. How do you do that? It was all home cooking.\u003c/p>\n\u003cp>I came to the Bay to do art, and I consider myself to be an artist still. I bounced around until a chef friend of mine invited me to work with her in 2016 at B Restaurant and Bar. They were doing oyster events, and it was all Mexicans and Central Americans in the kitchen. They took me in and put me on. I was watching YouTube; I didn’t go to culinary school. I was very creative and I wanted to learn. I get nerdy and obsess over things I want to become good at. The chef there gave me a chance as a line cook. I learned each day by just jumping in headstrong, without any formal training in restaurants.\u003c/p>\n\u003cp>After that, it felt really cool. It took off and I blossomed from there. My friends who were doing art shows asked me to sell food at their events. You just gotta have that Bay Area grind mentality where you’re working but also doing side work. I came up with a quick name [at the time]: Cocina Maiz. After that it became something I really liked and I started popping up regularly at \u003ca href=\"https://www.instagram.com/elismilehighclub/\">Eli’s Mile High Club\u003c/a>. If you want it, you can go get it. I just made it happen.\u003c/p>\n\u003cp>\u003cb>You add dashes of fusion to your dishes. What are some examples of dishes you’ve made that explore these cultural remixes, and why is that important to you?\u003c/b>\u003c/p>\n\u003cp>Technique is important. Watching my grandmother and remembering her cooking process — if you’ve been to a rancho, that is hard work. Making masa? That’s so much labor. And that’s just one aspect. You also have salsas and all that stuff. I gained all that growing up. Once I started working in other spaces, I began to learn other tools and techniques, like French fine dining or fast casual. That involved OG French brigade style. I learned about new things I was capable of making.\u003c/p>\n\u003cp>My oxtail dish, for example, that’s a very French thing to do. It’s braised with mezcal. I grew up eating caldo de res with bones in the soup. That’s Mexican. But the French thing to do is cutting it lengthwise and maybe add green sauce. I found that to be cool, but how would I do that with Mexican rice? So I made lamb chops with green mole — that felt European to me, lamb chops with mint sauce. Mexicans eat lamb, too — barbacoa, birria. But it’s prepared differently. We grew up eating borrego cooked in holes in the earth. But how can I do that in other contexts, Americanized? You’re constantly translating. You’re using other techniques for these things.\u003c/p>\n\u003cp>I just also happen to love Japanese food, so I allow that to pop up as tempura Baja tacos. There’s a lot of intersection with other cultures, and I want that to hit on that. I’m always trying to figure out how to do shit I like and bring that over into Mexican food without making it look like a Chevy’s (laughs).\u003c/p>\n\u003cfigure id=\"attachment_13920080\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13920080\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/provecho_memela_alanchazaro-800x1200.jpg\" alt=\"a blue plate displays a Oaxacan empanada, which resembles a Mexican quesadilla\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/provecho_memela_alanchazaro-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/provecho_memela_alanchazaro-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/provecho_memela_alanchazaro-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/provecho_memela_alanchazaro-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/provecho_memela_alanchazaro-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/provecho_memela_alanchazaro-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/provecho_memela_alanchazaro-1920x2880.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/provecho_memela_alanchazaro-scaled.jpg 1707w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Provecho’s Oaxacan empanada is a quesadilla with quesillo and pistachio salsa macha. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>You use the phrase “Native powered” on social media. I’m drawn to it. What does that concept mean for you?\u003c/b>\u003c/p>\n\u003cp>There’s different areas in Oaxaca. There are about eight areas. The two biggest groups are Mixtec and Zapotec. You’ll see lots of villages speaking indigenous languages there. My parents weren’t taught Mixteco, but I had family members who spoke Mixteco and Trique, which is a dialect of Mixteco. So I grew up around that. But because of heavy racism in the States, I felt ashamed of these things. I wouldn’t even want to wear my huaraches. Unless you have a strong circle of elders to tell you it’s OK, most of us don’t feel connected to those traditions here in the U.S. We don’t have the time to articulate our feelings.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"“We are byproducts of our ancestors, and it’s ingrained in our DNA to know certain things. … My way of teaching or showing or offering to others is to preserve culture, and for me, it’s through food. It’s gonna be Mexican as fuck.”","name":"pullquote","attributes":{"named":{"size":"large","align":"right","citation":"Eder Ramirez, Provecho","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/span>It wasn’t until I got older and started educating myself, reading and researching about people who resisted. That’s what native powered means to me. A resistance. In the U.S. and Mexico, we don’t always see ourselves as indigenous. Some “Whitexicans” might want to claim their Spanish side more. But for me, Mexico is the world’s biggest reservation. Once you delve past the ritzy hotel towns, you see what it is. Once you get to these areas, you get to your ancestors. Milpas are where you grow corn, beans, squash — replenishing the Earth without destroying the soil. It’s the way to grow symbiotically. It’s everywhere in Mexico, and it looks like a mess, but it’s synergy.\u003c/p>\n\u003cp>That’s all about education, sharing, representation, connecting with the youth. Everyone has their gifts. We are byproducts of our ancestors, and it’s ingrained in our DNA to know certain things. They’re memories passed on. My way of teaching or showing or offering to others is to preserve culture, and for me, it’s through food. It’s gonna be Mexican as fuck.\u003c/p>\n\u003cp>\u003cb>Memelas are a common Oaxacan dish you make. What are they?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13919032,arts_13896221,arts_13913592","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/span>I didn’t eat memelas growing up. I serve them, but because, since when you talk about Mexican food there’s so many regions, this is Oaxacan. When you get to Oaxaca, it goes even further into more regions. You have your moles, tlayudas, memelas, mezcal. That’s Oaxaca to most people. But every region in Oaxaca has their own ways of doing all of this.\u003c/p>\n\u003cp>Memelas are like picadas, or picadas Veracruzanas. It’s a thick tortilla with pinched sides, almost like a sope [a Mexican dish of a fried masa with mixed toppings; imagine an open-faced pupusa]. [Memelas are] even thinner, with pinched sides and a canal in the middle. You can eat them for breakfast or lunch. You add a little bit of oil and a Oaxacan lard mixed with pieces of chicharon, called asiento.Then some salsa y queso. I wanted to bring that, I wanted that to be my shit. My menu rotates, but I was told I should keep an item or two for consistency. Memelas are here to stay, and they’re Oaxacan.\u003c/p>\n\u003cp>\u003cb>How has the Bay Area influenced your cooking as a Mexican American?\u003c/b>\u003c/p>\n\u003cp>It’s not something I overtly think about, but it’s inherent in where I am. I’m using ingredients that are grown an hour north of me, in the North Bay. I get my fish from this region, too. And these things I make? They are sometimes a little extra. I’m doing a smoked pork belly taco… c’mon that’s extra as fuck. And what’s more extra than Bay Area culture? Bay Area culture is the most. You gotta have attitude; it’s not for the meek. You gotta have sazon in your energy. I can be calm and super chill, but when I do food, I am the most. I eat food like a motherfucker. Eating in East Oakland, everywhere.\u003c/p>\n\u003cp>You just get influenced by friends, by love, by your surroundings, and that’s all the Bay: this beautiful landscape. You drive past that gnarly part of the [Highway] 80 near Emeryville, then there’s this fuckin’ beautiful water right next to you. I pay a tax to be somewhere dope, and this place provides that. It shows up in what I cook.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/pro_ve_cho/\">\u003ci>Provecho\u003c/i>\u003c/a>\u003ci> rotates locations weekly. Tuesdays at \u003c/i>\u003ca href=\"https://www.instagram.com/lowbaroakland/\">\u003ci>Low Bar\u003c/i>\u003c/a>\u003ci> (2300 Webster St., Oakland) from 5 p.m. until sell out. One Friday every month at \u003c/i>\u003ca href=\"https://www.instagram.com/crybabyoakland/\">\u003ci>Cry Baby\u003c/i>\u003c/a>\u003ci> (1928 Telegraph Ave., Oakland) from 5 p.m. until sell out. Supper Club, in Rockridge, is Ramirez’s monthly underground food event; \u003c/i>\u003ca href=\"https://www.instagram.com/p/CinqZmZP4h9/?utm_source=ig_web_copy_link\">\u003ci>limited tickets\u003c/i>\u003c/a>\u003ci> must be purchased in advance. He also serves private meal orders.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13920076/provecho-oakland-oaxacan-pop-up-eder-ramirez-hella-hungry","authors":["11748"],"categories":["arts_1","arts_12276"],"tags":["arts_2546","arts_10278","arts_1297","arts_17573","arts_877","arts_14985"],"featImg":"arts_13920077","label":"source_arts_13920076"},"arts_13903957":{"type":"posts","id":"arts_13903957","meta":{"index":"posts_1591205157","site":"arts","id":"13903957","score":null,"sort":[1632943983000]},"guestAuthors":[],"slug":"a-new-doc-shows-how-oaklands-black-cowboys-keep-history-alive","title":"A New Doc Shows How Oakland's Black Cowboys Keep History Alive","publishDate":1632943983,"format":"standard","headTitle":"A New Doc Shows How Oakland’s Black Cowboys Keep History Alive | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>One of the best parts of living in the Bay Area are the people who find magic in their passions and devote themselves to sharing it with others. Wilbert “Cowboy” Freeman McAlister, the longtime president of the \u003ca href=\"http://www.blackcowboyassociation.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Oakland Black Cowboy Association\u003c/a>, certainly fits that description. He’s led the group of urban equestrians for 18 years, and through their \u003ca href=\"https://www.kqed.org/news/11838503/oaklands-black-cowboy-association-wants-you-to-fill-out-the-census\" target=\"_blank\" rel=\"noopener noreferrer\">community service\u003c/a> and annual parade, they’ve kept the Black history of the West alive for nearly five decades.\u003c/p>\n\u003cp>A new, short documentary by director James Manson, \u003cem>Cowboy\u003c/em>, paints a personal portrait of McAlister and allows us to get to know the \u003cem>how\u003c/em> and \u003cem>why\u003c/em> of his unique subculture. Beyond visual opulence of the horses, boots and belts, there’s plenty of wisdom to be shared about how Black cowboys bring generations of Oaklanders together and promote an appreciation and understanding of history.\u003c/p>\n\u003cp>The documentary premieres at \u003ca href=\"http://elismilehigh.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Eli’s Mile High Club\u003c/a> on Saturday, Oct. 2. In fact, many of the interview scenes were shot in the historic Oakland venue, which emerged as a bastion of the local blues scene in the 1970s and eventually became an eclectic hub for all sorts of genres, notably punk and metal. Eli’s talent buyer John Gamiño composed the \u003cem>Cowboy \u003c/em>soundtrack, which adds a sentimental quality to its poetic visuals through an ambient, electronic score. [aside postid='arts_13892809']\u003c/p>\n\u003cp>McAlister himself performs regularly at Eli’s Monday blues night as Cowboy & His Sometimes Blues Band. The group will play at Saturday’s film screening and Q&A, which also doubles as a fundraiser for the Oakland Black Cowboy Association. The cowboys canceled their annual parade for 2020 and 2021 because of COVID, but plan to return to DeFremery Park in October 2022.\u003c/p>\n\u003cp>\u003ca href=\"https://www.eventbrite.com/e/cowboy-documentary-film-premiere-tickets-174278219847\" target=\"_blank\" rel=\"noopener noreferrer\">Tickets and additional details can be found on Eventbrite\u003c/a>. The documentary will be available for streaming at a later date.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"'Cowboy' premieres at Eli's Mile High Club on Oct. 2. ","status":"publish","parent":0,"modified":1705007676,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":7,"wordCount":324},"headData":{"title":"A New Doc Shows How Oakland's Black Cowboys Keep History Alive | KQED","description":"'Cowboy' premieres at Eli's Mile High Club on Oct. 2. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13903957/a-new-doc-shows-how-oaklands-black-cowboys-keep-history-alive","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>One of the best parts of living in the Bay Area are the people who find magic in their passions and devote themselves to sharing it with others. Wilbert “Cowboy” Freeman McAlister, the longtime president of the \u003ca href=\"http://www.blackcowboyassociation.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Oakland Black Cowboy Association\u003c/a>, certainly fits that description. He’s led the group of urban equestrians for 18 years, and through their \u003ca href=\"https://www.kqed.org/news/11838503/oaklands-black-cowboy-association-wants-you-to-fill-out-the-census\" target=\"_blank\" rel=\"noopener noreferrer\">community service\u003c/a> and annual parade, they’ve kept the Black history of the West alive for nearly five decades.\u003c/p>\n\u003cp>A new, short documentary by director James Manson, \u003cem>Cowboy\u003c/em>, paints a personal portrait of McAlister and allows us to get to know the \u003cem>how\u003c/em> and \u003cem>why\u003c/em> of his unique subculture. Beyond visual opulence of the horses, boots and belts, there’s plenty of wisdom to be shared about how Black cowboys bring generations of Oaklanders together and promote an appreciation and understanding of history.\u003c/p>\n\u003cp>The documentary premieres at \u003ca href=\"http://elismilehigh.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Eli’s Mile High Club\u003c/a> on Saturday, Oct. 2. In fact, many of the interview scenes were shot in the historic Oakland venue, which emerged as a bastion of the local blues scene in the 1970s and eventually became an eclectic hub for all sorts of genres, notably punk and metal. Eli’s talent buyer John Gamiño composed the \u003cem>Cowboy \u003c/em>soundtrack, which adds a sentimental quality to its poetic visuals through an ambient, electronic score. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13892809","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>McAlister himself performs regularly at Eli’s Monday blues night as Cowboy & His Sometimes Blues Band. The group will play at Saturday’s film screening and Q&A, which also doubles as a fundraiser for the Oakland Black Cowboy Association. The cowboys canceled their annual parade for 2020 and 2021 because of COVID, but plan to return to DeFremery Park in October 2022.\u003c/p>\n\u003cp>\u003ca href=\"https://www.eventbrite.com/e/cowboy-documentary-film-premiere-tickets-174278219847\" target=\"_blank\" rel=\"noopener noreferrer\">Tickets and additional details can be found on Eventbrite\u003c/a>. The documentary will be available for streaming at a later date.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13903957/a-new-doc-shows-how-oaklands-black-cowboys-keep-history-alive","authors":["11387"],"programs":["arts_140"],"categories":["arts_1","arts_74"],"tags":["arts_2546","arts_10278","arts_1143"],"featImg":"arts_13903974","label":"arts_140"},"arts_13892809":{"type":"posts","id":"arts_13892809","meta":{"index":"posts_1591205157","site":"arts","id":"13892809","score":null,"sort":[1613674714000]},"guestAuthors":[],"slug":"after-five-decades-of-shows-elis-mile-high-club-keeps-the-party-going-on-patreon","title":"After Five Decades of Shows, Eli’s Mile High Club Keeps the Party Going on Patreon","publishDate":1613674714,"format":"standard","headTitle":"After Five Decades of Shows, Eli’s Mile High Club Keeps the Party Going on Patreon | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>\u003ca href=\"http://elismilehigh.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Eli’s Mile High Club\u003c/a> is usually dim except for the glow of a red neon sign that spells its name in cursive. Graffiti is the main decor, along with old posters from its heyday as a blues club in the ’70s and ’80s. Now a hub for Oakland’s many musical subcultures, the bar still vibrates with the spirit of countless wild nights of dancing and cheap drinks, even as it sits mostly empty during the pandemic.\u003c/p>\n\u003cp>“Any venue that holds music for a certain period of time is going to retain a certain vibe as a characteristic that lives in the atmosphere,” says blues singer and bassist Greg “GMan” Simmons, who was a regular performer at Eli’s from the ’70s to the days before the COVID-19 crisis began. “Let’s call it a humble place—that’s a nice way of saying ‘dive.’ But a place to go is a place to go; it’s not judged on the outer accoutrements. It’s the vibe, it’s the energy. These are halls that have been rockin’ and rollin’ for a long time.” [aside postid='arts_13809453']\u003c/p>\n\u003cp>Last month, Simmons and guitarist Bobby Young became the first artists to record a live performance at Eli’s for the bar’s new \u003ca href=\"https://www.patreon.com/elismilehighclub/posts\" target=\"_blank\" rel=\"noopener noreferrer\">Patreon\u003c/a>. Co-owner Matt Patane spearheaded the effort with his new media company, Sky Coward Media Inc., which supplies professional sound and filming equipment and coordinates artists’ pay through a \u003ca href=\"https://www.fluxfoundation.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Flux Foundation\u003c/a> grant. Simmons and Young were crucial in shaping the Down By Blues virtual concerts that Eli’s now releases on Patreon every Monday. And on Saturdays, another video series called Red Room features sets and interviews with artists like emo rapper \u003ca href=\"https://rickylake.bandcamp.com/album/saving-ricky\" target=\"_blank\" rel=\"noopener noreferrer\">Ricky Lake\u003c/a>, jazz-hip-hop artist \u003ca href=\"https://alleyesmanifest.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">James Wavey\u003c/a> and hard rock band \u003ca href=\"https://psychichit.bandcamp.com/album/promo-2018\" target=\"_blank\" rel=\"noopener noreferrer\">Psychic Hit\u003c/a>.\u003c/p>\n\u003cp>https://youtu.be/1OIbxXvEWBQ\u003c/p>\n\u003cp>The effort is the club’s way of continuing to support its eclectic artist community, both financially and in terms of morale. “Any time you’ve got a venue that’s going out of their way to see that the musicians are working and being able to do what we love to do—that says something right there,” says Young. “I’d say in the entire Bay Area, you can count the venues that are like that on half a hand. It’s really rare, but it makes you feel worthy as a musician.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://youtu.be/PwCQ-IVAcYY\u003c/p>\n\u003cp>On a recent Friday afternoon in Eli’s back patio, Young, Simmons and Patane sit around a picnic table swapping tales from Eli’s storied past. It was always a haunt for local musicians, but big names like Etta James and James Brown performed there too. And it was the Rolling Stones’ preferred post-concert hangout when they were on tour. Legend has it that the Stones were once turned away at the door. (There weren’t very many white customers at the time, and the bouncer didn’t believe them when they told him who they were.)\u003c/p>\n\u003cp>“In those days, there was as much of a show in the house as it was on the stage,” says Simmons.\u003c/p>\n\u003cp>Darker stories came out of Eli’s too, but they only seem to contribute to the bar’s lore. One Thursday evening in 1979, for instance, owner Eli Thornton’s aggrieved girlfriend, blues singer \u003ca href=\"https://www.mercurynews.com/2011/02/16/frankie-williams-adjusts-to-life-after-nearly-30-years-in-prison/\" target=\"_blank\" rel=\"noopener noreferrer\">Frankie Williams\u003c/a>, came in and shot him. (In her trial, her defense presented evidence that Thornton had been abusive.)\u003c/p>\n\u003cp>After Thornton’s death, blues singer \u003ca href=\"https://www.allmusic.com/artist/troyce-key-mn0000021931\" target=\"_blank\" rel=\"noopener noreferrer\">Troyce Key\u003c/a> ran Eli’s Mile High Club in the ’80s. It changed hands again several times afterwards, but always kept its shabby charm. It was known as a punk and metal bar before Patane took it over in 2016 with business partners Billy Joe Agan and Erik Schmollinger. They brought back the blues—and many of the original performers—and started up weekly punk and rap concerts, DJ nights and drag shows. The crowd they attracted was diverse in terms of age and ethnicity, and everyone was welcome. Even Williams, of all people, came back to watch a blues show after serving her time.\u003c/p>\n\u003cp>“It was kind of awesome for us because we’re sittin’ there going, ‘Wow, this is cool. This piece of history just walked in the door,’” says Patane. “And it gave us this incredible reputation, like, ‘You could pretty much get away with a lot at Eli’s, including shooting the owner and getting let back in here.’”\u003c/p>\n\u003cfigure id=\"attachment_13892904\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13892904\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/IMGP8024-800x590.jpg\" alt=\"A blues bassist and guitarist in masks perform on a nightclub stage.\" width=\"800\" height=\"590\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/IMGP8024-800x590.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/IMGP8024-1020x752.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/IMGP8024-160x118.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/IMGP8024-768x566.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/IMGP8024-1536x1133.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/IMGP8024.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bobby Young (left) and Greg “GMan” Simmons have been Eli’s regulars since the ’70s, and they played a key role in creating its new Down By Blues program on Patreon. \u003ccite>(David Hiltbrand)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Since the pandemic started, the owners of Eli’s have watched other Oakland venues \u003ca href=\"https://www.kqed.org/arts/13887215/end-of-an-era-oakland-venue-starline-social-club-is-on-the-market\" target=\"_blank\" rel=\"noopener noreferrer\">close down permanently\u003c/a>, so they count themselves relatively lucky. When the first shelter-in-place orders came down last March, they had enough savings to cover six to eight months of basic expenses. Help came from the Paycheck Protection Program, which allowed them to keep on about half of their staff and reopen for outdoor dining during the summer. (They plan to start backyard food service again when weather improves.) A substantial grant from \u003ca href=\"https://www.kqed.org/arts/13887609/hardly-strictly-gives-over-3-million-to-out-of-work-musicians-venues\" target=\"_blank\" rel=\"noopener noreferrer\">Hardly Strictly Bluegrass\u003c/a>, in the upper five figures, also went a long way towards keeping bills paid. And federal grant funding from the \u003ca href=\"https://www.kqed.org/arts/13890679/save-our-stages-act-included-in-stimulus-package-promises-relief-for-venues\" target=\"_blank\" rel=\"noopener noreferrer\">Save Our Stages Act\u003c/a> will soon provide some relief as well. [aside postid='arts_13890093,arts_13890679']\u003c/p>\n\u003cp>In a phone interview, Agan, who runs the business operations side of things, assures me that Eli’s isn’t in danger of closing, and explains that he and his team want to do what they can with their resources to support the local music scene. “I can open up and just sell booze at the door,” he says. “But it’s hard for [musicians] to do anything, and to make a living off what they do.”\u003c/p>\n\u003cp>So far, the Eli’s Patreon channel has 63 subscribers who pay a collective $500 or so a month. Artists get 60% of the proceeds in addition to the Flux Foundation money they receive as compensation. It may not be a huge payday, but the hope is to keep momentum going until people can come to Eli’s to see live music again.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“Us being open and doing things for people online, it’s kind of us showing people we really do this shit for them,” says Agan. “We get messages every day saying, ‘Please don’t close, we love you.’ That’s not something we ever got when we were open. It really shows, like, damn, our space meant a lot to people.”\u003c/p>\n\n","blocks":[],"excerpt":"The beloved Oakland bar is putting its eclectic artist community to work by filming online concerts in its space. ","status":"publish","parent":0,"modified":1705019461,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":15,"wordCount":1193},"headData":{"title":"After Five Decades of Shows, Eli’s Mile High Club Keeps the Party Going on Patreon | KQED","description":"The beloved Oakland bar is putting its eclectic artist community to work by filming online concerts in its space. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13892809/after-five-decades-of-shows-elis-mile-high-club-keeps-the-party-going-on-patreon","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://elismilehigh.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Eli’s Mile High Club\u003c/a> is usually dim except for the glow of a red neon sign that spells its name in cursive. Graffiti is the main decor, along with old posters from its heyday as a blues club in the ’70s and ’80s. Now a hub for Oakland’s many musical subcultures, the bar still vibrates with the spirit of countless wild nights of dancing and cheap drinks, even as it sits mostly empty during the pandemic.\u003c/p>\n\u003cp>“Any venue that holds music for a certain period of time is going to retain a certain vibe as a characteristic that lives in the atmosphere,” says blues singer and bassist Greg “GMan” Simmons, who was a regular performer at Eli’s from the ’70s to the days before the COVID-19 crisis began. “Let’s call it a humble place—that’s a nice way of saying ‘dive.’ But a place to go is a place to go; it’s not judged on the outer accoutrements. It’s the vibe, it’s the energy. These are halls that have been rockin’ and rollin’ for a long time.” \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13809453","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Last month, Simmons and guitarist Bobby Young became the first artists to record a live performance at Eli’s for the bar’s new \u003ca href=\"https://www.patreon.com/elismilehighclub/posts\" target=\"_blank\" rel=\"noopener noreferrer\">Patreon\u003c/a>. Co-owner Matt Patane spearheaded the effort with his new media company, Sky Coward Media Inc., which supplies professional sound and filming equipment and coordinates artists’ pay through a \u003ca href=\"https://www.fluxfoundation.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Flux Foundation\u003c/a> grant. Simmons and Young were crucial in shaping the Down By Blues virtual concerts that Eli’s now releases on Patreon every Monday. And on Saturdays, another video series called Red Room features sets and interviews with artists like emo rapper \u003ca href=\"https://rickylake.bandcamp.com/album/saving-ricky\" target=\"_blank\" rel=\"noopener noreferrer\">Ricky Lake\u003c/a>, jazz-hip-hop artist \u003ca href=\"https://alleyesmanifest.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">James Wavey\u003c/a> and hard rock band \u003ca href=\"https://psychichit.bandcamp.com/album/promo-2018\" target=\"_blank\" rel=\"noopener noreferrer\">Psychic Hit\u003c/a>.\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/1OIbxXvEWBQ'\n title='//www.youtube.com/embed/1OIbxXvEWBQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The effort is the club’s way of continuing to support its eclectic artist community, both financially and in terms of morale. “Any time you’ve got a venue that’s going out of their way to see that the musicians are working and being able to do what we love to do—that says something right there,” says Young. “I’d say in the entire Bay Area, you can count the venues that are like that on half a hand. It’s really rare, but it makes you feel worthy as a musician.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","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/PwCQ-IVAcYY'\n title='//www.youtube.com/embed/PwCQ-IVAcYY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>On a recent Friday afternoon in Eli’s back patio, Young, Simmons and Patane sit around a picnic table swapping tales from Eli’s storied past. It was always a haunt for local musicians, but big names like Etta James and James Brown performed there too. And it was the Rolling Stones’ preferred post-concert hangout when they were on tour. Legend has it that the Stones were once turned away at the door. (There weren’t very many white customers at the time, and the bouncer didn’t believe them when they told him who they were.)\u003c/p>\n\u003cp>“In those days, there was as much of a show in the house as it was on the stage,” says Simmons.\u003c/p>\n\u003cp>Darker stories came out of Eli’s too, but they only seem to contribute to the bar’s lore. One Thursday evening in 1979, for instance, owner Eli Thornton’s aggrieved girlfriend, blues singer \u003ca href=\"https://www.mercurynews.com/2011/02/16/frankie-williams-adjusts-to-life-after-nearly-30-years-in-prison/\" target=\"_blank\" rel=\"noopener noreferrer\">Frankie Williams\u003c/a>, came in and shot him. (In her trial, her defense presented evidence that Thornton had been abusive.)\u003c/p>\n\u003cp>After Thornton’s death, blues singer \u003ca href=\"https://www.allmusic.com/artist/troyce-key-mn0000021931\" target=\"_blank\" rel=\"noopener noreferrer\">Troyce Key\u003c/a> ran Eli’s Mile High Club in the ’80s. It changed hands again several times afterwards, but always kept its shabby charm. It was known as a punk and metal bar before Patane took it over in 2016 with business partners Billy Joe Agan and Erik Schmollinger. They brought back the blues—and many of the original performers—and started up weekly punk and rap concerts, DJ nights and drag shows. The crowd they attracted was diverse in terms of age and ethnicity, and everyone was welcome. Even Williams, of all people, came back to watch a blues show after serving her time.\u003c/p>\n\u003cp>“It was kind of awesome for us because we’re sittin’ there going, ‘Wow, this is cool. This piece of history just walked in the door,’” says Patane. “And it gave us this incredible reputation, like, ‘You could pretty much get away with a lot at Eli’s, including shooting the owner and getting let back in here.’”\u003c/p>\n\u003cfigure id=\"attachment_13892904\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13892904\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/IMGP8024-800x590.jpg\" alt=\"A blues bassist and guitarist in masks perform on a nightclub stage.\" width=\"800\" height=\"590\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/IMGP8024-800x590.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/IMGP8024-1020x752.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/IMGP8024-160x118.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/IMGP8024-768x566.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/IMGP8024-1536x1133.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/IMGP8024.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bobby Young (left) and Greg “GMan” Simmons have been Eli’s regulars since the ’70s, and they played a key role in creating its new Down By Blues program on Patreon. \u003ccite>(David Hiltbrand)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Since the pandemic started, the owners of Eli’s have watched other Oakland venues \u003ca href=\"https://www.kqed.org/arts/13887215/end-of-an-era-oakland-venue-starline-social-club-is-on-the-market\" target=\"_blank\" rel=\"noopener noreferrer\">close down permanently\u003c/a>, so they count themselves relatively lucky. When the first shelter-in-place orders came down last March, they had enough savings to cover six to eight months of basic expenses. Help came from the Paycheck Protection Program, which allowed them to keep on about half of their staff and reopen for outdoor dining during the summer. (They plan to start backyard food service again when weather improves.) A substantial grant from \u003ca href=\"https://www.kqed.org/arts/13887609/hardly-strictly-gives-over-3-million-to-out-of-work-musicians-venues\" target=\"_blank\" rel=\"noopener noreferrer\">Hardly Strictly Bluegrass\u003c/a>, in the upper five figures, also went a long way towards keeping bills paid. And federal grant funding from the \u003ca href=\"https://www.kqed.org/arts/13890679/save-our-stages-act-included-in-stimulus-package-promises-relief-for-venues\" target=\"_blank\" rel=\"noopener noreferrer\">Save Our Stages Act\u003c/a> will soon provide some relief as well. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13890093,arts_13890679","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In a phone interview, Agan, who runs the business operations side of things, assures me that Eli’s isn’t in danger of closing, and explains that he and his team want to do what they can with their resources to support the local music scene. “I can open up and just sell booze at the door,” he says. “But it’s hard for [musicians] to do anything, and to make a living off what they do.”\u003c/p>\n\u003cp>So far, the Eli’s Patreon channel has 63 subscribers who pay a collective $500 or so a month. Artists get 60% of the proceeds in addition to the Flux Foundation money they receive as compensation. It may not be a huge payday, but the hope is to keep momentum going until people can come to Eli’s to see live music again.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Us being open and doing things for people online, it’s kind of us showing people we really do this shit for them,” says Agan. “We get messages every day saying, ‘Please don’t close, we love you.’ That’s not something we ever got when we were open. It really shows, like, damn, our space meant a lot to people.”\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13892809/after-five-decades-of-shows-elis-mile-high-club-keeps-the-party-going-on-patreon","authors":["11387"],"categories":["arts_1"],"tags":["arts_10589","arts_10126","arts_10127","arts_10342","arts_2546","arts_10278","arts_11080"],"featImg":"arts_13892903","label":"arts"},"arts_13864624":{"type":"posts","id":"arts_13864624","meta":{"index":"posts_1591205157","site":"arts","id":"13864624","score":null,"sort":[1566431746000]},"guestAuthors":[],"slug":"with-an-ear-to-the-underground-oakland-punk-and-metal-label-tankcrimes-thrives","title":"With an Ear to the Underground, Oakland Punk and Metal Label Tankcrimes Thrives","publishDate":1566431746,"format":"standard","headTitle":"With an Ear to the Underground, Oakland Punk and Metal Label Tankcrimes Thrives | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>\u003cspan style=\"font-weight: 400\">Scotty “Karate” Heath wasn’t born in Oakland, but the impact he’s had on the city’s rich metal and punk DIY scene is incalculable. Seventeen years ago, he started a record label in his garage, and called it \u003ca href=\"https://www.tankcrimes.com/\" target=\"_blank\" rel=\"noopener\">Tankcrimes\u003c/a>. Heath had \u003c/span>\u003ca href=\"https://blowthescene.com/interviews/the-tankcrimes-interview-with-scotty-heath.html\" target=\"_blank\" rel=\"noopener\">\u003cspan style=\"font-weight: 400\">previously\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> put out a couple of records under the name Controlled by Plague, which was an existing label project that he’d inherited from a friend, but 2005 saw the first actual Tankcrimes release, a seven-inch EP from Bay Area deathgrind unit Population Reduction.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“The label started out of necessity; my own band needed a label and so did a handful of killer bands that had all began popping off around the Bay around the same time in the early 2000s,” Heath says. “It was always based within our local punk community. The manufacturing of the first half dozen or so releases were even funded by friends from the scene and some band members chipping in.” \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13864631\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13864631\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/scotty-tankcrimes-800x1200.jpg\" alt=\"Through shrewd business moves and an ear for underground sounds, Scotty "Karate" Heath transformed his DIY label Tankcrimes into one of the Bay Area's most prominent punk and metal hubs.\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/scotty-tankcrimes.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/scotty-tankcrimes-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/scotty-tankcrimes-768x1152.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Through shrewd business moves and an ear for underground sounds, Scotty “Karate” Heath transformed his DIY label Tankcrimes into one of the Bay Area’s most prominent punk and metal hubs. \u003ccite>(Rob Coons)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">In the early 2000s (prior to the mid-2000s thrash metal boom that helped kick the region’s metal scene into overdrive) the Bay Area already had a massive DIY infrastructure, with venues like\u003c/span>\u003cspan style=\"font-weight: 400\"> Mission Records, Burnt Ramen and 924 Gilman, and labels like Prank, 625, Six Weeks and Alternative Tentacles. Mordam Distribution and and the fanzine Maximum Rocknroll kept the scene weird and vibrant. Heath’s endeavor came out of that same hardcore punk scene, but his eventual willingness to embrace metal too added new dimensions to his label’s output. Now, Tankcrimes is better known for its thrash and sludge than its d-beat, which is a little ironic given Heath’s own status as a lifelong punk.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“All this stuff was there and we were still existing below that point of interest—until we weren’t anymore,” Heath explains. “All the underground labels I aspired to be when I started have all either shut down or slowed down to one or less releases a year. I think I started at a time when it was easier to adapt and evolve with the way people listen to music.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">That initial spark grew into a wildfire as Heath’s friends continue to make boundary-smashing, genre-crushing metal and punk music, and he continues to unleash them into the world. Now, nearly two decades since he decided to take a chance on releasing that first record on his own, Tankcrimes boasts a formidable catalogue (\u003c/span>\u003ca href=\"https://www.discogs.com/label/117444-Tankcrimes?sort=year&sort_order=desc&page=1\" target=\"_blank\" rel=\"noopener\">\u003cspan style=\"font-weight: 400\">Discogs\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> notes 142 releases) and has released some of the most crucial metal and punk releases of the past decade from \u003ca href=\"https://www.municipalwaste.net/\" target=\"_blank\" rel=\"noopener\">Municipal Waste\u003c/a>, \u003ca href=\"https://toxicholocaust.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Toxic Holocaust\u003c/a>, \u003ca href=\"https://www.facebook.com/INEPSYOFFICIAL/\" target=\"_blank\" rel=\"noopener\">Inepsy\u003c/a>, \u003ca href=\"https://maniaxe.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Ghoul\u003c/a>, \u003ca href=\"https://necrot.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Necrot\u003c/a>, \u003ca href=\"http://www.annihilationtime.net/history.html\" target=\"_blank\" rel=\"noopener\">Annihilation Time\u003c/a> and \u003ca href=\"https://ironreagan.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Iron Reagan\u003c/a> as well as reissued classics from genre giants like Spazz and Dystopia, which continue to sell like gangbusters.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Sean McGrath (better known as Digestor, the masked vocalist/guitarist for splatter punks Ghoul) has been working with Heath since he released Ghoul’s 2010 album, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Transmission Zero\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">. In McGrath’s estimation, the label’s forward-thinking approach to DIY and coveted, small-scale physical releases are the major drivers behind its success.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13864635\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13864635\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/necrot-800x497.jpg\" alt=\"Oakland doom band Necrot performs at Tankcrimes' showcase at Eli's Mile High Club on Aug. 23. \" width=\"800\" height=\"497\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/necrot-800x497.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/necrot-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/necrot-768x477.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/necrot-1020x633.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/necrot-1200x745.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/necrot.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Oakland doom band Necrot performs at Tankcrimes’ showcase at Eli’s Mile High Club on Aug. 23. \u003ccite>(Chris Johnston)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">“He has multiple bands on his label [like Ghoul and Necrot] that have had an album on the Billboard charts, and he’s just one guy running the whole show from his garage,” McGrath tells KQED over email. “And that success is partially because he’s been smart about taking advantage of new distribution and promotion channels, but also by paying attention to what people are listening to, and trying new things to see what works/abandoning the things that don’t.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Tankcrimes’ typical run for an album is 1,000 CDs and 1,000 vinyl LPs (both formats typically sell out, Heath says), and he’s also embraced streaming in a big way, with most of the label’s releases available as pay-what-you-want downloads. His top sellers include the 2012 split EP between Municipal Waste and Toxic Holocaust, which he still struggles to keep in stock, as well as the aforementioned immensely popular reissues from Spazz and Dystopia. According to him, the defunct Bay Area crusty sludge outfit\u003c/span>\u003cspan style=\"font-weight: 400\"> “is our most popular band on streaming services as well, by far.”\u003c/span>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1137428150/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“He’s got that DIY punk ethos which is deeply held (he still rides around on a skateboard flyering light poles when he promotes a show), but he’s really focused on how things are done now, how they’ll be done in the future, and how that punk ethos can guide him there,” continues McGrath, whose own band’s albums are repressed every year. [aside postid='arts_13848663']\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Still Tankcrimes remains a family affair, and Heath counts himself lucky to be able to surround himself with friends for a living. “I don’t work for money, I work for growth,” he explains. “While I am talking about fan base there, it’s also the growth of the relationships, and growth as artists, and personal growth as individuals. When we say, ‘Tankcrimes Family,’ it’s real. The core of us, we have each others backs, we know each other’s secrets.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Ami Lawless, the current vocalist for thrash punks Cliterati and a longtime bandmate of Heath’s in the crossover thrash project Vöetsek, describes him as “the little brother [their] parents never gave [them.]” \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13864634\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13864634\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/cliterati-800x533.jpg\" alt=\"Portland band Cliterati bring their queer-forward punk to the Tankcrimes showcase at Eli's Mile High Club on Aug. 23.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/cliterati-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/cliterati-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/cliterati-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/cliterati-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/cliterati-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/cliterati.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Portland band Cliterati bring their queer-forward punk to the Tankcrimes showcase at Eli’s Mile High Club on Aug. 23. \u003ccite>(Angelo Rossi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We know what to expect from each other and share a familial love and respect that goes deeper than a traditional band/label working relationship,” they explain (Lawless uses they/them pronouns). “What ya see is definitely what ya get, one of the most genuinely nice guys in the music business who strives to help the bands on his label as much as he can.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Continuing to build that strong sense of community is another important ingredient in Tankcrimes’ kitchen-sink recipe for underground achievement, and is something Heath takes seriously. He’s well-aware that the label’s growth has been a direct result of the relationships he’s built, and isn’t about to take that fact for granted.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“There is such an insane history in underground music [in the Bay] so I really want to do my part,” he explains. “I can only hope people see what we’re doing here as part of that lineage. From Dead Kennedys to Rancid, from Death Angel to Neurosis, from Too Short to Hieroglyphics to Lil B. There are many micro communities in the Bay existing under the banners of punk and metal. While we are just one of them, there is a certain energy at our shows that stems from the family-style support team we’ve put together, and the people can feel it.” \u003c/span>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3650696870/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Heath has been booking metal and punk shows for as long as he’s lived in the Bay, but in recent years, Tankcrimes has also moved into the festival space with multi-day events like Brainsqueeze, as well as stacked, one-off ragers like the upcoming\u003c/span>\u003ca href=\"https://www.eventbrite.com/e/tankcrimes-takeover-of-elis-necrot-kicker-cliterati-deathgrave-tickets-67329160331\" target=\"_blank\" rel=\"noopener\">\u003cspan style=\"font-weight: 400\"> Tankcrimes Takeover\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> at Eli’s Mile High Club on Aug. 23.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Heath’s advice to other young punks or heshers who want to emulate Tankcrimes’ ongoing DIY success story is straightforward, but clearly comes from a place of compassion—much like his overall approach to the music business. “The number one thing that will hold a person back is fear,” Heath says. “Do not be afraid of what people will say. Do not be afraid of hard work. Do not be afraid of failure. Do not be afraid of success. Do not be afraid to ask for help. Do not be afraid to say yes.”\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n","blocks":[],"excerpt":"Small-batch physical releases and savvy moves in the streaming arena propelled the label's 17 years of success. ","status":"publish","parent":0,"modified":1705022274,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":true,"iframeSrcs":["https://bandcamp.com/EmbeddedPlayer/album=1137428150/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/","https://bandcamp.com/EmbeddedPlayer/album=3650696870/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/"],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":20,"wordCount":1425},"headData":{"title":"With an Ear to the Underground, Oakland Punk and Metal Label Tankcrimes Thrives | KQED","description":"Small-batch physical releases and savvy moves in the streaming arena propelled the label's 17 years of success. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"nprByline":"Kim Kelly","templateType":"standard","featuredImageType":"standard","path":"/arts/13864624/with-an-ear-to-the-underground-oakland-punk-and-metal-label-tankcrimes-thrives","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">Scotty “Karate” Heath wasn’t born in Oakland, but the impact he’s had on the city’s rich metal and punk DIY scene is incalculable. Seventeen years ago, he started a record label in his garage, and called it \u003ca href=\"https://www.tankcrimes.com/\" target=\"_blank\" rel=\"noopener\">Tankcrimes\u003c/a>. Heath had \u003c/span>\u003ca href=\"https://blowthescene.com/interviews/the-tankcrimes-interview-with-scotty-heath.html\" target=\"_blank\" rel=\"noopener\">\u003cspan style=\"font-weight: 400\">previously\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> put out a couple of records under the name Controlled by Plague, which was an existing label project that he’d inherited from a friend, but 2005 saw the first actual Tankcrimes release, a seven-inch EP from Bay Area deathgrind unit Population Reduction.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“The label started out of necessity; my own band needed a label and so did a handful of killer bands that had all began popping off around the Bay around the same time in the early 2000s,” Heath says. “It was always based within our local punk community. The manufacturing of the first half dozen or so releases were even funded by friends from the scene and some band members chipping in.” \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13864631\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13864631\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/scotty-tankcrimes-800x1200.jpg\" alt=\"Through shrewd business moves and an ear for underground sounds, Scotty "Karate" Heath transformed his DIY label Tankcrimes into one of the Bay Area's most prominent punk and metal hubs.\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/scotty-tankcrimes.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/scotty-tankcrimes-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/scotty-tankcrimes-768x1152.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Through shrewd business moves and an ear for underground sounds, Scotty “Karate” Heath transformed his DIY label Tankcrimes into one of the Bay Area’s most prominent punk and metal hubs. \u003ccite>(Rob Coons)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">In the early 2000s (prior to the mid-2000s thrash metal boom that helped kick the region’s metal scene into overdrive) the Bay Area already had a massive DIY infrastructure, with venues like\u003c/span>\u003cspan style=\"font-weight: 400\"> Mission Records, Burnt Ramen and 924 Gilman, and labels like Prank, 625, Six Weeks and Alternative Tentacles. Mordam Distribution and and the fanzine Maximum Rocknroll kept the scene weird and vibrant. Heath’s endeavor came out of that same hardcore punk scene, but his eventual willingness to embrace metal too added new dimensions to his label’s output. Now, Tankcrimes is better known for its thrash and sludge than its d-beat, which is a little ironic given Heath’s own status as a lifelong punk.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“All this stuff was there and we were still existing below that point of interest—until we weren’t anymore,” Heath explains. “All the underground labels I aspired to be when I started have all either shut down or slowed down to one or less releases a year. I think I started at a time when it was easier to adapt and evolve with the way people listen to music.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">That initial spark grew into a wildfire as Heath’s friends continue to make boundary-smashing, genre-crushing metal and punk music, and he continues to unleash them into the world. Now, nearly two decades since he decided to take a chance on releasing that first record on his own, Tankcrimes boasts a formidable catalogue (\u003c/span>\u003ca href=\"https://www.discogs.com/label/117444-Tankcrimes?sort=year&sort_order=desc&page=1\" target=\"_blank\" rel=\"noopener\">\u003cspan style=\"font-weight: 400\">Discogs\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> notes 142 releases) and has released some of the most crucial metal and punk releases of the past decade from \u003ca href=\"https://www.municipalwaste.net/\" target=\"_blank\" rel=\"noopener\">Municipal Waste\u003c/a>, \u003ca href=\"https://toxicholocaust.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Toxic Holocaust\u003c/a>, \u003ca href=\"https://www.facebook.com/INEPSYOFFICIAL/\" target=\"_blank\" rel=\"noopener\">Inepsy\u003c/a>, \u003ca href=\"https://maniaxe.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Ghoul\u003c/a>, \u003ca href=\"https://necrot.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Necrot\u003c/a>, \u003ca href=\"http://www.annihilationtime.net/history.html\" target=\"_blank\" rel=\"noopener\">Annihilation Time\u003c/a> and \u003ca href=\"https://ironreagan.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Iron Reagan\u003c/a> as well as reissued classics from genre giants like Spazz and Dystopia, which continue to sell like gangbusters.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Sean McGrath (better known as Digestor, the masked vocalist/guitarist for splatter punks Ghoul) has been working with Heath since he released Ghoul’s 2010 album, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Transmission Zero\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">. In McGrath’s estimation, the label’s forward-thinking approach to DIY and coveted, small-scale physical releases are the major drivers behind its success.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13864635\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13864635\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/necrot-800x497.jpg\" alt=\"Oakland doom band Necrot performs at Tankcrimes' showcase at Eli's Mile High Club on Aug. 23. \" width=\"800\" height=\"497\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/necrot-800x497.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/necrot-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/necrot-768x477.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/necrot-1020x633.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/necrot-1200x745.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/necrot.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Oakland doom band Necrot performs at Tankcrimes’ showcase at Eli’s Mile High Club on Aug. 23. \u003ccite>(Chris Johnston)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">“He has multiple bands on his label [like Ghoul and Necrot] that have had an album on the Billboard charts, and he’s just one guy running the whole show from his garage,” McGrath tells KQED over email. “And that success is partially because he’s been smart about taking advantage of new distribution and promotion channels, but also by paying attention to what people are listening to, and trying new things to see what works/abandoning the things that don’t.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Tankcrimes’ typical run for an album is 1,000 CDs and 1,000 vinyl LPs (both formats typically sell out, Heath says), and he’s also embraced streaming in a big way, with most of the label’s releases available as pay-what-you-want downloads. His top sellers include the 2012 split EP between Municipal Waste and Toxic Holocaust, which he still struggles to keep in stock, as well as the aforementioned immensely popular reissues from Spazz and Dystopia. According to him, the defunct Bay Area crusty sludge outfit\u003c/span>\u003cspan style=\"font-weight: 400\"> “is our most popular band on streaming services as well, by far.”\u003c/span>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1137428150/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“He’s got that DIY punk ethos which is deeply held (he still rides around on a skateboard flyering light poles when he promotes a show), but he’s really focused on how things are done now, how they’ll be done in the future, and how that punk ethos can guide him there,” continues McGrath, whose own band’s albums are repressed every year. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13848663","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Still Tankcrimes remains a family affair, and Heath counts himself lucky to be able to surround himself with friends for a living. “I don’t work for money, I work for growth,” he explains. “While I am talking about fan base there, it’s also the growth of the relationships, and growth as artists, and personal growth as individuals. When we say, ‘Tankcrimes Family,’ it’s real. The core of us, we have each others backs, we know each other’s secrets.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Ami Lawless, the current vocalist for thrash punks Cliterati and a longtime bandmate of Heath’s in the crossover thrash project Vöetsek, describes him as “the little brother [their] parents never gave [them.]” \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13864634\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13864634\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/cliterati-800x533.jpg\" alt=\"Portland band Cliterati bring their queer-forward punk to the Tankcrimes showcase at Eli's Mile High Club on Aug. 23.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/cliterati-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/cliterati-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/cliterati-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/cliterati-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/cliterati-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/cliterati.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Portland band Cliterati bring their queer-forward punk to the Tankcrimes showcase at Eli’s Mile High Club on Aug. 23. \u003ccite>(Angelo Rossi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We know what to expect from each other and share a familial love and respect that goes deeper than a traditional band/label working relationship,” they explain (Lawless uses they/them pronouns). “What ya see is definitely what ya get, one of the most genuinely nice guys in the music business who strives to help the bands on his label as much as he can.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Continuing to build that strong sense of community is another important ingredient in Tankcrimes’ kitchen-sink recipe for underground achievement, and is something Heath takes seriously. He’s well-aware that the label’s growth has been a direct result of the relationships he’s built, and isn’t about to take that fact for granted.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“There is such an insane history in underground music [in the Bay] so I really want to do my part,” he explains. “I can only hope people see what we’re doing here as part of that lineage. From Dead Kennedys to Rancid, from Death Angel to Neurosis, from Too Short to Hieroglyphics to Lil B. There are many micro communities in the Bay existing under the banners of punk and metal. While we are just one of them, there is a certain energy at our shows that stems from the family-style support team we’ve put together, and the people can feel it.” \u003c/span>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3650696870/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Heath has been booking metal and punk shows for as long as he’s lived in the Bay, but in recent years, Tankcrimes has also moved into the festival space with multi-day events like Brainsqueeze, as well as stacked, one-off ragers like the upcoming\u003c/span>\u003ca href=\"https://www.eventbrite.com/e/tankcrimes-takeover-of-elis-necrot-kicker-cliterati-deathgrave-tickets-67329160331\" target=\"_blank\" rel=\"noopener\">\u003cspan style=\"font-weight: 400\"> Tankcrimes Takeover\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> at Eli’s Mile High Club on Aug. 23.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Heath’s advice to other young punks or heshers who want to emulate Tankcrimes’ ongoing DIY success story is straightforward, but clearly comes from a place of compassion—much like his overall approach to the music business. “The number one thing that will hold a person back is fear,” Heath says. “Do not be afraid of what people will say. Do not be afraid of hard work. Do not be afraid of failure. Do not be afraid of success. Do not be afraid to ask for help. Do not be afraid to say yes.”\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13864624/with-an-ear-to-the-underground-oakland-punk-and-metal-label-tankcrimes-thrives","authors":["byline_arts_13864624"],"categories":["arts_69"],"tags":["arts_2546","arts_1118","arts_994"],"featImg":"arts_13864629","label":"arts"},"arts_13842549":{"type":"posts","id":"arts_13842549","meta":{"index":"posts_1591205157","site":"arts","id":"13842549","score":null,"sort":[1539270029000]},"guestAuthors":[],"slug":"tommy-wright-iii-memphis-rap-legend-comes-to-oakland","title":"Tommy Wright III, Memphis Rap Legend, Comes to Oakland","publishDate":1539270029,"format":"standard","headTitle":"Tommy Wright III, Memphis Rap Legend, Comes to Oakland | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>Tommy Wright III started rapping and producing as a teenager in 1990s Memphis, working with then-unknown artists who’d eventually plant the Tennessee city on the hip-hop map through groups including Three 6 Mafia. But Wright remained decidedly underground, peddling tapes stuffed with homemade beats and murderous, motormouth raps via his own Street Smart Records. Eventually, a series of jail stints derailed his career, creating doubt that his name would resound outside of Memphis.\u003c/p>\n\u003cp>Instead, Wright has in recent years been name-checked by Lil B and Kreayshawn, Lil Ugly Mane and A$AP Rocky—a generation of artists grinding online claim the regional legend as a spiritual forebear. He’s also found an audience in modern punk and skate scenes; Goner Records, the flagship Memphis garage-rock label, has booked the artist at its eponymous annual festival. And Wright is seizing on the resurgence, appearing in bars and venues associated with the DIY touring circuit nationwide. \u003c/p>\n\u003cp>Hence Wright’s performance Friday, Oct. 12, at venerable Oakland dive Eli’s Mile High Club, with openers Cult Days and Jaji Preme. Find more details \u003ca href=\"https://www.facebook.com/events/509206026208876/\">here\u003c/a>. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"Tommy Wright III has found an audience in the modern punk and skate scenes. ","status":"publish","parent":0,"modified":1705027149,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":5,"wordCount":193},"headData":{"title":"Tommy Wright III, Memphis Rap Legend, Comes to Oakland | KQED","description":"Tommy Wright III has found an audience in the modern punk and skate scenes. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"path":"/arts/13842549/tommy-wright-iii-memphis-rap-legend-comes-to-oakland","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Tommy Wright III started rapping and producing as a teenager in 1990s Memphis, working with then-unknown artists who’d eventually plant the Tennessee city on the hip-hop map through groups including Three 6 Mafia. But Wright remained decidedly underground, peddling tapes stuffed with homemade beats and murderous, motormouth raps via his own Street Smart Records. Eventually, a series of jail stints derailed his career, creating doubt that his name would resound outside of Memphis.\u003c/p>\n\u003cp>Instead, Wright has in recent years been name-checked by Lil B and Kreayshawn, Lil Ugly Mane and A$AP Rocky—a generation of artists grinding online claim the regional legend as a spiritual forebear. He’s also found an audience in modern punk and skate scenes; Goner Records, the flagship Memphis garage-rock label, has booked the artist at its eponymous annual festival. And Wright is seizing on the resurgence, appearing in bars and venues associated with the DIY touring circuit nationwide. \u003c/p>\n\u003cp>Hence Wright’s performance Friday, Oct. 12, at venerable Oakland dive Eli’s Mile High Club, with openers Cult Days and Jaji Preme. Find more details \u003ca href=\"https://www.facebook.com/events/509206026208876/\">here\u003c/a>. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13842549/tommy-wright-iii-memphis-rap-legend-comes-to-oakland","authors":["11091"],"programs":["arts_140"],"categories":["arts_69"],"tags":["arts_4435","arts_2546","arts_1118"],"featImg":"arts_13842551","label":"arts_140"},"arts_13809453":{"type":"posts","id":"arts_13809453","meta":{"index":"posts_1591205157","site":"arts","id":"13809453","score":null,"sort":[1506377175000]},"guestAuthors":[],"slug":"evolutionary-blues-resurrects-west-oaklands-musical-legacy","title":"'Evolutionary Blues' Resurrects West Oakland's Musical Legacy","publishDate":1506377175,"format":"image","headTitle":"‘Evolutionary Blues’ Resurrects West Oakland’s Musical Legacy | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>The new documentary \u003ca href=\"http://www.swfcenter4sj.org/evolutionary-blues.html\" target=\"_blank\" rel=\"noopener\">\u003cem>Evolutionary Blues: West Oakland’s Music Legacy\u003c/em>\u003c/a> examines a timely topic: the ways in which art, and specifically music, is constantly changing in concert with larger sociopolitical forces. The film, by director Cheryl Fabio, traces how hymns sung by slaves picking cotton transformed into the blues, which begat rock ‘n’ roll, funk, and even elements of hip-hop.\u003c/p>\n\u003cp>Alabama Mike, one of many East Bay musicians featured in the film, sums up this progression aptly: “The blues had babies.”\u003c/p>\n\u003cp>While the music has evolved, the reason for its existence remains obstinately rooted. The blues emerged as the collective, mournful wail of people trampled by America’s system of white supremacy. Fabio weaves politics into the narrative of music history to show how the migrants who fled the Jim Crow south were unable to escape institutionalized racism — and neither were the generations that followed. African Americans weren’t lynched in Oakland, but their homes were stolen and smashed during the era of “urban renewal.” Their grandchildren and great-grandchildren are still being targeted and killed in the streets by police.\u003c/p>\n\u003cp>Fabio, a long-time Oaklander, doesn’t have an academic expertise in the blues, but still felt qualified to make a movie about the genre. “I’ve been black all my life,” she explains.\u003c/p>\n\u003cfigure id=\"attachment_13809488\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/crew-trainstation-800x533.jpg\" alt=\"Filmmaker Cheryl Fabio (center) on set at 16th Street Station. \" width=\"800\" height=\"533\" class=\"size-medium wp-image-13809488\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/crew-trainstation.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/crew-trainstation-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/crew-trainstation-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/crew-trainstation-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/crew-trainstation-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/crew-trainstation-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Filmmaker Cheryl Fabio (center) on set at 16th Street Station. \u003ccite>(Courtesy of Evolutionary Blues/Cheryl Fabio)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Evolutionary Blues\u003c/em> was originally intended as a one-hour special for \u003ca href=\"http://www2.oaklandnet.com/government/o/CityClerk/s/KTOP/index.htm\" target=\"_blank\" rel=\"noopener\">KTOP\u003c/a>, the City of Oakland’s public access TV channel that broadcasts local government meetings. Once Fabio began her research, though, she was flooded with so many stories that it turned into a two-year project, culminating in the feature-length film that\u003ca href=\"https://www.eventbrite.com/e/evolutionary-blues-west-oaklands-music-legacy-tickets-36852277153?aff=efbeventtix\" target=\"_blank\" rel=\"noopener\">premieres at the Grand Lake Theater\u003c/a> on Sept. 27 before hitting the festival circuit. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It wasn’t our intent to go this big, but it was too fascinating to squelch it, so we let it grow,” she says. \u003c/p>\n\u003caside class=\"pullquote alignright\">The people brought the sounds with them, and once they became city people, the sounds evolved — because they was evolving. \u003ccite>Faye Carol, singer\u003c/cite>\u003c/aside>\n\u003cp>Citing one example of how community involvement made the film possible, Fabio explained that when she couldn’t afford to license archival photos of performers like James Brown and T-Bone Walker, a local photographer offered images from his personal collection for free. The DIY spirit behind the film is reminiscent of the mid-century West Oakland that \u003cem>Evolutionary Blues\u003c/em> vividly brings back to life. \u003c/p>\n\u003cp>During World War II, the demand for workers sparked the biggest black population boom in Oakland’s history. Most of the new arrivals settled near the shipyards to be close to their jobs — and also because housing segregation was strictly enforced throughout the Bay Area. As black families primarily from Texas, Louisiana, Arkansas, and Oklahoma moved in, white homeowners subdivided their Victorians into rental units and moved out to East Oakland. \u003c/p>\n\u003cp>The 7th Street corridor quickly became a thriving hub for black-owned businesses, including many nightclubs, and the musical styles that new residents brought with them blended into a fresh concoction: West Coast Blues. In an interview filmed inside West Oakland’s historic, crumbling \u003ca href=\"https://localwiki.org/oakland/16th_Street_Station\" target=\"_blank\" rel=\"noopener\">16th Street Station\u003c/a>, award-winning singer Faye Carol explained, “The people brought the sounds with them and once they became city people, the sounds evolved — because they was evolving.” \u003c/p>\n\u003cfigure id=\"attachment_13809491\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/IMG_1911-800x800.jpg\" alt=\"Legendary 7th Street blues club Esther's Orbit Room shuttered in 2011. \" width=\"800\" height=\"800\" class=\"size-medium wp-image-13809491\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_1911.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_1911-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_1911-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_1911-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_1911-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_1911-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_1911-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_1911-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_1911-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_1911-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_1911-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_1911-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Legendary 7th Street blues club Esther’s Orbit Room shuttered in 2011. \u003ccite>(Liam O'Donoghue)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the late 1940s, record producer Bob Geddins launched a massively influential though often overlooked studio, and several record labels. The Pullman Porters, a politically active union of Black railroad workers, helped distribute Geddins’ recordings of blues pioneers such as Lowell Fulson and Jimmy McCracklin across the country. West Oakland turned into a magnet for aspiring musicians like B.B. King, who visited frequently, and T-Bone Walker, who became famous for doing the splits while playing guitar and was called “the greatest entertainer of all time” by Chuck Berry. Other stars of the scene included Big Mama Thornton, renowned for making “Hound Dog” a hit three years before Elvis Presley, and Sugar Pie DeSanto, a firecracker known for leaping from pianos with James Brown, who is \u003ca href=\"https://www.eastbayexpress.com/oakland/sugar-pie-desantos-delicious-soul/Content?oid=7694048\" target=\"_blank\" rel=\"noopener\">still playing shows\u003c/a> at 81 years old. \u003c/p>\n\u003cp>Unfortunately, video recordings of juke joint performances during the height of this scene are virtually nonexistent, but Fabio makes up for the lack of archival footage with rich recollections from folks who were actually there, like the aforementioned DeSanto. These stories, along with a thumping soundtrack and gorgeous black-and-white photos from the collection of \u003ca href=\"https://www.arcadiapublishing.com/Products/9781467125659\" target=\"_blank\" rel=\"noopener\">E.F. Joseph\u003c/a> — an Oakland photojournalist who obsessively documented local black cultural events for more than five decades — give the documentary an intimate, visceral feel. \u003c/p>\n\u003cp>This era captured in \u003cem>Evolutionary Blues\u003c/em> ended abruptly when swaths of the neighborhood, including most of 7th Street, were demolished to make room for massive infrastructure projects, including Interstate 880, BART, and an enormous U.S. Post Office facility. Thousands of residents were pushed out with little compensation through eminent domain. Decommissioned military tanks were used to crush one of America’s most vital black communities into rubble. (Yes, really — the photos are devastating.) As the film shifts into the post-blues era, the viewer is left grappling with these traumatic images, making it difficult to fully appreciate the chapters exploring 1960s and ’70s funk — and that music’s connection to another Oakland institution: The Black Panther Party. \u003c/p>\n\u003cfigure id=\"attachment_13809492\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/SugarPie_1-800x1196.jpg\" alt=\"Sugar Pie DeSanto, an Oakland blues icon, still performs today.\" width=\"800\" height=\"1196\" class=\"size-medium wp-image-13809492\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/SugarPie_1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/SugarPie_1-160x239.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/SugarPie_1-768x1148.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/SugarPie_1-240x359.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/SugarPie_1-375x561.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/SugarPie_1-520x777.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sugar Pie DeSanto, an Oakland blues icon, still performs today. \u003ccite>(Courtesy of Sugar Pie DeSanto)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In recent years, historic venue \u003ca href=\"https://www.eastbayexpress.com/oakland/elis-mile-high-club-in-west-oakland-celebrates-its-blues-legacy-this-weekend/Content?oid=5307834\" target=\"_blank\" rel=\"noopener\">Eli’s Mile High Club\u003c/a>, now primarily known as a punk bar, has begun hosting blues nights to bring local legends back to its storied stage. But according to Geoffrey Pete, long-time owner of downtown venue Geoffrey’s Inner Circle, black businesses are still facing institutional discrimination, and have limited opportunities to rebuild the scene or preserve its legacy. Pete’s club was \u003ca href=\"https://www.eastbayexpress.com/oakland/cops-charging-overtime-to-clubs/Content?oid=2491919\" target=\"_blank\" rel=\"noopener\">shut down from 2009 through 2012\u003c/a> following a controversy that involved an OPD sergeant allegedly fabricating a shooting as part of what Pete characterized as a shakedown scheme for “protection money.” As long as these kinds of stories persist, the message behind the blues will remain urgent. “The pain and suffering won’t go anywhere, so there’ll be a need to sing the blues for a long time,” he said in film. \u003c/p>\n\u003cp>Fabio is also confident that Oakland’s Black population will ultimately refuse to succumb to the forces of displacement bearing down on the East Bay. “I’m optimistic, because I view us as a stubborn people,” she said. “That’s why we’re still here. I can’t imagine this generation is gonna flake out and we’re going to disappear.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘Evolutionary Blues: West Oakland’s Music Legacy’ premieres at Oakland’s Grand Lake Theater on Wednesday, Sept. 27, at 7pm. Tickets are available \u003ca href=\"https://www.eventbrite.com/e/evolutionary-blues-west-oaklands-music-legacy-tickets-36852277153?aff=efbeventtix\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. There will also be a screening on Nov. 10 at \u003ca href=\"http://www.oaklandlibrary.org/locations/african-american-museum-library-oakland\" target=\"_blank\" rel=\"noopener\">The African American Museum and Library at Oakland\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Cheryl Fabio's new documentary traces the history of West Oakland's blues scene -- and the social forces behind its rise and fall. ","status":"publish","parent":0,"modified":1705029475,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":18,"wordCount":1229},"headData":{"title":"'Evolutionary Blues' Resurrects West Oakland's Musical Legacy | KQED","description":"Cheryl Fabio's new documentary traces the history of West Oakland's blues scene -- and the social forces behind its rise and fall. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"nprByline":"Liam O'Donoghue","path":"/arts/13809453/evolutionary-blues-resurrects-west-oaklands-musical-legacy","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The new documentary \u003ca href=\"http://www.swfcenter4sj.org/evolutionary-blues.html\" target=\"_blank\" rel=\"noopener\">\u003cem>Evolutionary Blues: West Oakland’s Music Legacy\u003c/em>\u003c/a> examines a timely topic: the ways in which art, and specifically music, is constantly changing in concert with larger sociopolitical forces. The film, by director Cheryl Fabio, traces how hymns sung by slaves picking cotton transformed into the blues, which begat rock ‘n’ roll, funk, and even elements of hip-hop.\u003c/p>\n\u003cp>Alabama Mike, one of many East Bay musicians featured in the film, sums up this progression aptly: “The blues had babies.”\u003c/p>\n\u003cp>While the music has evolved, the reason for its existence remains obstinately rooted. The blues emerged as the collective, mournful wail of people trampled by America’s system of white supremacy. Fabio weaves politics into the narrative of music history to show how the migrants who fled the Jim Crow south were unable to escape institutionalized racism — and neither were the generations that followed. African Americans weren’t lynched in Oakland, but their homes were stolen and smashed during the era of “urban renewal.” Their grandchildren and great-grandchildren are still being targeted and killed in the streets by police.\u003c/p>\n\u003cp>Fabio, a long-time Oaklander, doesn’t have an academic expertise in the blues, but still felt qualified to make a movie about the genre. “I’ve been black all my life,” she explains.\u003c/p>\n\u003cfigure id=\"attachment_13809488\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/crew-trainstation-800x533.jpg\" alt=\"Filmmaker Cheryl Fabio (center) on set at 16th Street Station. \" width=\"800\" height=\"533\" class=\"size-medium wp-image-13809488\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/crew-trainstation.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/crew-trainstation-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/crew-trainstation-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/crew-trainstation-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/crew-trainstation-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/crew-trainstation-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Filmmaker Cheryl Fabio (center) on set at 16th Street Station. \u003ccite>(Courtesy of Evolutionary Blues/Cheryl Fabio)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Evolutionary Blues\u003c/em> was originally intended as a one-hour special for \u003ca href=\"http://www2.oaklandnet.com/government/o/CityClerk/s/KTOP/index.htm\" target=\"_blank\" rel=\"noopener\">KTOP\u003c/a>, the City of Oakland’s public access TV channel that broadcasts local government meetings. Once Fabio began her research, though, she was flooded with so many stories that it turned into a two-year project, culminating in the feature-length film that\u003ca href=\"https://www.eventbrite.com/e/evolutionary-blues-west-oaklands-music-legacy-tickets-36852277153?aff=efbeventtix\" target=\"_blank\" rel=\"noopener\">premieres at the Grand Lake Theater\u003c/a> on Sept. 27 before hitting the festival circuit. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It wasn’t our intent to go this big, but it was too fascinating to squelch it, so we let it grow,” she says. \u003c/p>\n\u003caside class=\"pullquote alignright\">The people brought the sounds with them, and once they became city people, the sounds evolved — because they was evolving. \u003ccite>Faye Carol, singer\u003c/cite>\u003c/aside>\n\u003cp>Citing one example of how community involvement made the film possible, Fabio explained that when she couldn’t afford to license archival photos of performers like James Brown and T-Bone Walker, a local photographer offered images from his personal collection for free. The DIY spirit behind the film is reminiscent of the mid-century West Oakland that \u003cem>Evolutionary Blues\u003c/em> vividly brings back to life. \u003c/p>\n\u003cp>During World War II, the demand for workers sparked the biggest black population boom in Oakland’s history. Most of the new arrivals settled near the shipyards to be close to their jobs — and also because housing segregation was strictly enforced throughout the Bay Area. As black families primarily from Texas, Louisiana, Arkansas, and Oklahoma moved in, white homeowners subdivided their Victorians into rental units and moved out to East Oakland. \u003c/p>\n\u003cp>The 7th Street corridor quickly became a thriving hub for black-owned businesses, including many nightclubs, and the musical styles that new residents brought with them blended into a fresh concoction: West Coast Blues. In an interview filmed inside West Oakland’s historic, crumbling \u003ca href=\"https://localwiki.org/oakland/16th_Street_Station\" target=\"_blank\" rel=\"noopener\">16th Street Station\u003c/a>, award-winning singer Faye Carol explained, “The people brought the sounds with them and once they became city people, the sounds evolved — because they was evolving.” \u003c/p>\n\u003cfigure id=\"attachment_13809491\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/IMG_1911-800x800.jpg\" alt=\"Legendary 7th Street blues club Esther's Orbit Room shuttered in 2011. \" width=\"800\" height=\"800\" class=\"size-medium wp-image-13809491\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_1911.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_1911-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_1911-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_1911-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_1911-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_1911-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_1911-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_1911-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_1911-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_1911-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_1911-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_1911-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Legendary 7th Street blues club Esther’s Orbit Room shuttered in 2011. \u003ccite>(Liam O'Donoghue)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the late 1940s, record producer Bob Geddins launched a massively influential though often overlooked studio, and several record labels. The Pullman Porters, a politically active union of Black railroad workers, helped distribute Geddins’ recordings of blues pioneers such as Lowell Fulson and Jimmy McCracklin across the country. West Oakland turned into a magnet for aspiring musicians like B.B. King, who visited frequently, and T-Bone Walker, who became famous for doing the splits while playing guitar and was called “the greatest entertainer of all time” by Chuck Berry. Other stars of the scene included Big Mama Thornton, renowned for making “Hound Dog” a hit three years before Elvis Presley, and Sugar Pie DeSanto, a firecracker known for leaping from pianos with James Brown, who is \u003ca href=\"https://www.eastbayexpress.com/oakland/sugar-pie-desantos-delicious-soul/Content?oid=7694048\" target=\"_blank\" rel=\"noopener\">still playing shows\u003c/a> at 81 years old. \u003c/p>\n\u003cp>Unfortunately, video recordings of juke joint performances during the height of this scene are virtually nonexistent, but Fabio makes up for the lack of archival footage with rich recollections from folks who were actually there, like the aforementioned DeSanto. These stories, along with a thumping soundtrack and gorgeous black-and-white photos from the collection of \u003ca href=\"https://www.arcadiapublishing.com/Products/9781467125659\" target=\"_blank\" rel=\"noopener\">E.F. Joseph\u003c/a> — an Oakland photojournalist who obsessively documented local black cultural events for more than five decades — give the documentary an intimate, visceral feel. \u003c/p>\n\u003cp>This era captured in \u003cem>Evolutionary Blues\u003c/em> ended abruptly when swaths of the neighborhood, including most of 7th Street, were demolished to make room for massive infrastructure projects, including Interstate 880, BART, and an enormous U.S. Post Office facility. Thousands of residents were pushed out with little compensation through eminent domain. Decommissioned military tanks were used to crush one of America’s most vital black communities into rubble. (Yes, really — the photos are devastating.) As the film shifts into the post-blues era, the viewer is left grappling with these traumatic images, making it difficult to fully appreciate the chapters exploring 1960s and ’70s funk — and that music’s connection to another Oakland institution: The Black Panther Party. \u003c/p>\n\u003cfigure id=\"attachment_13809492\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/SugarPie_1-800x1196.jpg\" alt=\"Sugar Pie DeSanto, an Oakland blues icon, still performs today.\" width=\"800\" height=\"1196\" class=\"size-medium wp-image-13809492\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/SugarPie_1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/SugarPie_1-160x239.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/SugarPie_1-768x1148.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/SugarPie_1-240x359.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/SugarPie_1-375x561.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/SugarPie_1-520x777.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sugar Pie DeSanto, an Oakland blues icon, still performs today. \u003ccite>(Courtesy of Sugar Pie DeSanto)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In recent years, historic venue \u003ca href=\"https://www.eastbayexpress.com/oakland/elis-mile-high-club-in-west-oakland-celebrates-its-blues-legacy-this-weekend/Content?oid=5307834\" target=\"_blank\" rel=\"noopener\">Eli’s Mile High Club\u003c/a>, now primarily known as a punk bar, has begun hosting blues nights to bring local legends back to its storied stage. But according to Geoffrey Pete, long-time owner of downtown venue Geoffrey’s Inner Circle, black businesses are still facing institutional discrimination, and have limited opportunities to rebuild the scene or preserve its legacy. Pete’s club was \u003ca href=\"https://www.eastbayexpress.com/oakland/cops-charging-overtime-to-clubs/Content?oid=2491919\" target=\"_blank\" rel=\"noopener\">shut down from 2009 through 2012\u003c/a> following a controversy that involved an OPD sergeant allegedly fabricating a shooting as part of what Pete characterized as a shakedown scheme for “protection money.” As long as these kinds of stories persist, the message behind the blues will remain urgent. “The pain and suffering won’t go anywhere, so there’ll be a need to sing the blues for a long time,” he said in film. \u003c/p>\n\u003cp>Fabio is also confident that Oakland’s Black population will ultimately refuse to succumb to the forces of displacement bearing down on the East Bay. “I’m optimistic, because I view us as a stubborn people,” she said. “That’s why we’re still here. I can’t imagine this generation is gonna flake out and we’re going to disappear.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Evolutionary Blues: West Oakland’s Music Legacy’ premieres at Oakland’s Grand Lake Theater on Wednesday, Sept. 27, at 7pm. Tickets are available \u003ca href=\"https://www.eventbrite.com/e/evolutionary-blues-west-oaklands-music-legacy-tickets-36852277153?aff=efbeventtix\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. There will also be a screening on Nov. 10 at \u003ca href=\"http://www.oaklandlibrary.org/locations/african-american-museum-library-oakland\" target=\"_blank\" rel=\"noopener\">The African American Museum and Library at Oakland\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13809453/evolutionary-blues-resurrects-west-oaklands-musical-legacy","authors":["byline_arts_13809453"],"categories":["arts_69"],"tags":["arts_2546","arts_1118","arts_924","arts_2533"],"featImg":"arts_13809486","label":"arts"}},"programsReducer":{"possible":{"id":"possible","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","officialWebsiteLink":"https://www.possible.fm/","meta":{"site":"news","source":"Possible"},"link":"/radio/program/possible","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/possible/id1677184070","spotify":"https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"}},"1a":{"id":"1a","title":"1A","info":"1A is home to the national conversation. 1A brings on great guests and frames the best debate in ways that make you think, share and engage.","airtime":"MON-THU 11pm-12am","imageSrc":"https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/1a.jpg","officialWebsiteLink":"https://the1a.org/","meta":{"site":"news","source":"npr"},"link":"/radio/program/1a","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=1188724250&at=11l79Y&ct=nprdirectory","tuneIn":"https://tunein.com/radio/1A-p947376/","rss":"https://feeds.npr.org/510316/podcast.xml"}},"all-things-considered":{"id":"all-things-considered","title":"All Things Considered","info":"Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. 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You ask the questions. You decide what Bay Curious investigates. 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You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg","imageAlt":"KQED MindShift: How We Will Learn","officialWebsiteLink":"/mindshift/","meta":{"site":"news","source":"kqed","order":"2"},"link":"/podcasts/mindshift","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5","npr":"https://www.npr.org/podcasts/464615685/mind-shift-podcast","stitcher":"https://www.stitcher.com/podcast/kqed/stories-teachers-share","spotify":"https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"}},"morning-edition":{"id":"morning-edition","title":"Morning Edition","info":"\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. 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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. 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