Rising Appeal: Exploring the Popularity of Minimum Deposit Casinos in the East Bay

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Published in cooperation between casinobonusca.com and the East Bay Express

As online gaming continues to flourish across California, the East Bay has become one of the most dynamic regions quietly participating in this digital shift—even though such platforms remain illegal in the area. A growing number of residents are turning to online casinos for entertainment, drawn by convenience, affordability and a sense of modern connectivity. Among the most prominent trends are minimum deposit casinos, which have gained remarkable traction by offering a gateway to gaming with minimal financial risk. Their popularity highlights evolving preferences in how people approach both leisure and spending, combining accessibility with excitement in a way that resonates with today’s users

The Convenience Factor

One of the driving forces behind the rise of minimum deposit casinos in the East Bay is sheer convenience. Though these platforms are not legally sanctioned, many players continue to access these platforms from home, avoiding trips to distant brick-and-mortar establishments. With just a smartphone or laptop, users can enjoy a full casino experience on demand. Those interested often explore $10 minimum deposit casino options online, picking the platforms that best align with their style and budget. Despite their legal status, these digital platforms have reshaped gaming habits locally, attracting everyone from busy professionals to students and casual hobbyists.

By allowing users to start with as little as $1 to $10, these platforms lower the barriers associated with traditional casino gaming. That low entry point is particularly attractive in a socioeconomically diverse region like the East Bay, where people are looking for affordable ways to unwind and explore new forms of entertainment—albeit through unregulated means.

A Changing Demographic of Players

Perhaps most striking is the shift in player demographics. Traditional casino gaming once attracted a narrower audience, typically older patrons willing to commit significant time and money. Now, thanks to online accessibility and minimal deposits, a broader and more diverse group is participating—from tech-savvy millennials to retirees curious about digital pastimes. This trend is playing out in the East Bay despite the lack of legal support for such activities.

Minimum deposit casinos are particularly appealing because they eliminate the pressure to wager big. Players can explore a variety of games—slots, poker, blackjack, roulette—without stretching their finances. That sense of freedom and experimentation, even in a legal gray area, adds a thrill that traditional casinos often lack.

Digital Innovation Meets Local Culture

Known for its progressive values and tech-forward mindset, the East Bay is naturally inclined to adopt cutting-edge digital trends. Although these online casinos operate outside legal boundaries, their modern design, secure payment systems and live-dealer experiences have won over many local residents. These platforms deliver the visual appeal and responsiveness that today’s entertainment-seekers demand.

Moreover, local enthusiasm for innovation complements the rapid development of the iGaming industry. From mobile-optimized interfaces to personalized bonus offers, these digital casinos offer a level of customization that appeals to East Bay players who expect smart, responsive tech—even from services operating outside of legality.

This intersection of tech culture and online gaming has fostered an underground digital entertainment scene, where users feel connected to a broader trend, even if it’s one they can’t openly champion.

Trust and Security in the Spotlight

One reason East Bay residents continue to engage with these platforms—despite their unregulated status—is the increasing emphasis on trust and user safety. Many offshore or internationally operated minimum deposit casinos now feature encryption, data protection and customer support comparable to mainstream apps.

For players in the East Bay, especially those new to the online casino scene, that sense of security is a powerful motivator. While they understand the legal ambiguity, they also weigh the perceived safety of the platform. Casinos that are well-reviewed, provide fair play and facilitate smooth transactions are more likely to earn continued user trust and loyalty—even without official approval.

A Community of Casual Gamers

High-stakes gambling isn’t the primary draw here. East Bay residents are seeking entertainment that’s flexible, low-pressure and budget-friendly. Minimum deposit casinos offer exactly that. They’re a good fit for spontaneous gaming during evenings or weekends, with no obligation to make a major financial or time commitment.

Unlike the formal environment of traditional casinos, these platforms let users play in whatever setting they prefer—relaxed, solo or socially engaged via built-in chat and community features. This laid-back experience mirrors the East Bay lifestyle, where balance and individuality are highly valued.

Furthermore, the presence of community features—such as social chats, live bets and user stats—adds a collaborative element to an otherwise solo activity. Players celebrate each other’s wins, share tips and bond over common experiences, even though they’re doing so through platforms that technically operate outside state law.

Looking Ahead

While online casinos remain illegal in the East Bay, it’s clear that many locals are drawn to them for their ease of use, affordability and social interactivity. The growing interest in minimum deposit platforms reflects broader shifts in how people want to engage with digital entertainment: quickly, casually and on their own terms.

This quiet but steady embrace of online gaming signals an evolving cultural landscape—one where legality and user demand are increasingly at odds. Whether regulation will eventually catch up remains to be seen, but for now, East Bay residents continue to log on, take their chances and enjoy the ride.

More Energy, Less Slowdown: How Fitline Fits into Your Daily Routine

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Published in cooperation between FitLine and the East Bay Express

Staying energized and performing at your best can feel like a daily challenge in our fast-paced world. You start the morning feeling great, but by the afternoon, energy drop hits. The go-to fix? Coffee or sugary snacks. But how sustainable is that?

A long-term solution requires more than quick fixes—it’s about building habits that support your energy levels. This is where FitLine comes in, offering products like FitLine PowerCocktail, FitLine Activize and FitLine Restorate as modern supplements. But what makes these products stand out—and where are their limits? We took a closer look.

How to Use FitLine Products Effectively 

Energy and performance don’t just depend on what you eat—they’re built on your daily habits. Sleep, exercise and nutrition are the foundation. But even with a healthy lifestyle, it’s not always easy to get all the essential nutrients your body needs. That’s where Fitline comes in.

Micronutrients are key to supporting energy levels. Your body relies on them to function at its best. For example, B vitamins help with energy metabolism and nervous system function. FitLine PowerCocktail is packed with these nutrients, making it a great way to start the day.

Consistency is everything when it comes to maintaining energy. Many Fitline users take FitLine Activize first thing in the morning. But just as an energized start matters, so does quality recovery. That’s why FitLine Restorate is popular at night—it contains magnesium, which supports muscle function and helps reduce fatigue.

Certain nutrients work better together. For example, vitamin C improves iron absorption, while zinc plays a key role in immune function. Fitline stays ahead of nutrition trends through research partnerships with leading institutions. It even incorporates insights from elite athletes into product development.

But no matter how good a supplement is, the real benefit of Fitline products is how they help you build and maintain healthy habits. Because in the end, sustainable routines make the biggest difference—whether you use Fitline or not.

Why Fitline?

The buzz around Fitline, a brand by PM-International, comes down to several factors. Its signature Nutrient Transport Concept (NTC®) is designed to optimize nutrient absorption—something unique to FitLine products. Over 1,000 elite athletes from 85-plus sports trust FitLine, giving the brand a strong reputation in performance and wellness. Some even call it “the secret weapon of top athletes.” But what does that mean for the average person?

A Critical Look at Fitline—What to Consider

While there are clear benefits, there are also a few things to keep in mind:

  • Consistency matters more than any supplement. Even the best product won’t make up for a poor diet, lack of sleep or high stress. FitLine works best as part of an overall healthy lifestyle.
  • Energy perception is personal. The effects of supplements vary from person to person. Factors like stress, sleep quality and overall health play a major role.
  • Prefer to get your nutrients from whole foods? You’re not alone. Some people prefer a food-first approach to nutrition rather than using supplements. Arguably, this approach is very time-consuming and expensive.
  • FitLine isn’t sold in stores. Instead, it’s distributed through independent sales reps, which means your experience may depend on who you buy from. While this direct sales model works well for some, it’s not for everyone.

Conclusion—A Balance of Daily Habits and Supplements

At the end of the day, there’s no magic formula—just better habits, smarter nutrition and the right tools to help you stay energized. With FitLine Activize to kickstart your day, FitLine PowerCocktail as a daily base and FitLine Restorate for nighttime recovery, FitLine can be a useful addition. But ultimately, it’s the combination of lifestyle choices that makes the real difference.

More energy and fewer slowdowns? It all comes down to what works best for you.

‘Blood Be Water’ traces a journey of transformation

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When Esteban Raheem Abdul Raheem Samayoa looks back at his childhood, here’s how he remembers it: “Growing up, I didn’t have the most stable family, and I was alone a lot. I had a lot of free time. So I really looked toward connecting with my community and my friends more so than my family.”

Now based in Oakland, Samayoa is a working artist with a show currently at the Institute of Contemporary Art San Jose. The title, “Blood Be Water,” is clearly a play on an old adage. But for Samayoa, it was community as much as family that had an impact on his art.

“It’s my journey of survival and my transformation,” Samayoa says about the exhibit. “It’s me building connections and family through community. So I’m changing the narrative of ‘blood is thicker than water.’ Blood is essentially water. Maybe it’s the opposite for some people, but for me family is essentially just what you make it.”

Born to parents from Guatemala and Mexico, Samayoa grew up in Sacramento. A self-taught artist, he began exhibiting five years ago in the Bay Area and later branched out to other big cities. He’s guest lectured at San Francisco State University, San Jose State University and Sacramento City College, and appeared in ads for clothing and shoe brands, as well as Cadillac’s 2024 Rising Icons online campaign.

Cars are among the recurring symbols Samayoa uses. For his first solo show at a museum, running through Aug. 24, Samayoa displays 50 mostly-new airbrush paintings, charcoal drawings, oil pastels and ceramics, which include such themes as local pride, hip-hop, tattoos, dogs and vintage cartoons, namely Looney Tunes and Tex Avery’s Slick Wolf character. The black-and-white and color pieces are organized into sections that represent Samayoa’s culture and community, with an additional short film that documents his creative process.

“I was raised with a Doberman and a Rottweiler,” Samayoa says. “Often people look at those dogs as dangerous breeds, but my dogs were rescued, so I see them in a different light. They were like big babies to me. They needed a lot of attention and care, and I relate to that because that’s how people see someone like me. I have a lot of tattoos. People look at us and assume something else. But if you talk to me, I’m just a kind and genuine person.

“I really gravitated toward dogs, as well as Cadillacs,” he continues. “I grew up with Cadillacs. My grandfather had one, my father had one and I have one. So being in those cars is just very nostalgic to me. I always felt good riding in them. The pleasantness of the seats and just how they flow.”.

In one painting, for example, Samayoa combines images of Malcolm X and Mary J. Blige alongside his younger self in a graduation gown and references to Diego Rivera’s murals. And in another piece of art, he depicts his aunt, whom he credits with helping raise him. In one work, Samayoa renders the grills on his teeth; in another, he and his ex-wife are embracing in front of an oak tree.

“The trees are a representation of Oakland,” Samayoa says. “It’s a classic symbol of Oakland. It’s also a piece about Black and Brown love in Oakland, and Oakland has been a big staple in my career. It gave me my start.”

Samayoa also interprets his conversion to Islam more than two years ago in a series of white hands made out of plaster, each one holding either The Autobiography of Malcolm X, a Quran or a prayer rug.

“Growing up, I had a lot of freedom,” Samayoa says. “I was out in the neighborhood a lot, so a lot of neighbors raised me. I had one best friend who was Muslim, and I would go to the masjid [mosque] with him on Fridays.

“As I navigated through life,” he continues, “there were a lot of Islamic connections for me. And when I got together with my last partner, that’s when I decided to convert. It just seemed really natural, and it put me in the right place, mentally and spiritually. It’s a very grounding practice in my life. It allows me to have a lot of gratitude for whatever’s going on, positive or negative.”

‘Blood Be Water,’ through Aug. 24, Institute of Contemporary Art San Jose, 560 S. 1st St., San Jose; icasanjose.org. Find Samayoa on Instagram at @wulffvnky.

Seven Mirrors gallery reflects community

Oakland-based artist Stacey Goodman’s multidisciplinary work can be described with any number of words. Even so, words fail to capture his broad portfolio and the vision that spurred him to found Seven Mirrors, a new, public-facing art studio/gallery. Launched in March 2024, the enterprise is housed across from Swan’s Market on Ninth Street in a gorgeous brick building in Old Town Oakland.

A few weeks after Seven Mirrors’ one-year anniversary, Goodman said he established his studio to support artists whose work encompasses “somatic movement, social art, mystery and magic.” A primary focus is fostering community engagement through workshops, film screenings, performances and exhibits of work by artists who invite public participation and encourage direct access to their philosophies and work processes.

“I wanted to have a public art space, not just a private practice,” Goodman said. “I wanted it in Oakland because it has become my home city, after years of living in San Francisco. It’s on a charming street, and there’s a diversity of people. 

“There was an entire Black working-class community when I moved to Oakland—a mix of low, middle and upper income people,” Goodman added. “Despite downtown Oakland’s troubles, people here want the area to be more than it is.”

When he signed the lease, the landlord said his role as an artist was “to activate the area.” Goodman admitted to rolling his eyes, but then thought deeply about what his role was and how to move art from its solitary conventions into public, participatory and experimental realms without becoming commercialized.

“Certainly, I want to see more galleries and shops, but I don’t want fancy condos going up all around me,” Goodman said. “Why do San Francisco when [it’s] right across the bay? I want to see art and artists in downtown spaces, not just industrial areas or struggling communities. Presenting something less commercial while still paying the rent is tricky. I have to come up with programming that’s experimental but also engages the community.”

Goodman believes that art seen and experienced inside Seven Mirrors must resemble the people just outside its doors—and their lives, priorities and desires. Which brings forth themes of reflectivity and the name he selected.

“To be honest, the name came to me in a mystic, esoteric way,” he said. “It popped into my head, and when I looked it up, I liked the connection between the name and what it actually means. I like how it aligned with involving community.”

The Essenes were an ancient Jewish sect in existence from 150 B.C.E. to 70 C.E. They identified personal relationships according to seven categories called mirrors. Collectively, the mirrors reveal how individual identity, behavior, perceptions about the world, actions and relationships can be seen in what the mirrors display.

Goodman said the art space’s high ceilings, natural light and large front windows where videos can be projected or artwork prominently placed are perfect vehicles for attracting passing pedestrians, along with artists interested in showcasing their work. “We can do large installations, small workshops, solo or shared exhibitions,” he said. “In addition to the front windows, there’s a space in the back dedicated to video projection.”

Past shows included Goodman’s inaugural video exhibit that was accompanied by a workshop involving sense-based movement and an observation day to watch and join practitioners of tuning. Led by Margit Galanter and Zoey Huey, the public events honored his promise to the community.

Subsequent shows included “Mindscape,” featuring work by Ajaya (Maggie) Bhatnagar, an international student. While studying in the U.S. from 2020 to 2024, she created art pieces in response to her thoughts and dreams about dual identity, homesickness and belonging.

“Acknowledge the Shadows” closed March 22 and included the work of artists Quinn Keck and Luz Marina Ruiz “holding conversation” with each other. The exhibit included printmaking, art books, paintings, sculptures and video-based installations. And the shared space offered a measure of creativity in the display, in one case with the two artists’ imagery fused and projected simultaneously on the front window during opening night. 

“Right now, I have an experimental somatic dance workshop that involves drawing,” Goodman said. “I have my own connection to that world, and I want people to bring their entire self—the body, emotions and consciousness—into the art practice. Yes, there’s expression, but there is also what is happening within your body.”

A to-be-named project relates to “Buy Nothing” mutual aid ideas. “People bring in objects and talk about how they engage with them,” Goodman said. “It’s a conversational project that touches on social, political and ancestral worlds while keeping in mind joy and creativity. It’s about the liberation from material things and freedom found through sharing and art.”

For more information, contact in**@*************rt.com.

Aurora Theatre’s ‘Crumbs’ triumphs despite last-minute setback

If the phrase, “the show must go on,” was ever supremely apropos, it was May 4 at Aurora Theatre in Berkeley. Faced with the lead actor falling ill during a run of Pulitzer Prize-winning playwright Lynn Nottage’s Crumbs From the Table of Joy, the previous night’s production had been forced to cancel. Sunday’s matinee presented artistic director Josh Costello and the play’s director, Elizabeth Carter, with a dilemma and a reconfigured version of the familiar saying: “Must the show go on, and if so, how?”

And so it was that despite the Trump administration cancelling existing or pending federal funding, despite having raised significant local support to escape a severe financial deficit in the last 12 months and despite the illness of actor Anna Marie Sharpe, who was to play Ernestine Crumb, the valiant understudy Courtney Williams appeared script-in-hand, and the show went on.

Degrees of separation in a scene or from the other actors varied, and Williams, a more-than-capable actor, deserves a salute for managing at times to imbue the role with her character’s unique features. Ernestine holds a sincere love of films, timidity but curiosity about life beyond her fate as a young Black girl growing up in 1950s’ Brooklyn, NY and a slow-but-rising resistance to her father’s dictating what the future Ernestine might do, think, dream about, achieve.

The memory play is told through action and Ernestine’s occasional narration that breaks the fourth wall and describes their lives. Following the death of the family’s matriarchal anchor and hoping to escape racism in the Florida Panhandle, widower Godfrey (David Everett Moore) packs up his grief and, along with Ernestine and her younger sister, Ermina (Jamella Cross), uproots the family to move north. In Brooklyn, a basement apartment becomes a house of want.

Godfrey wants answers to questions that plague him and faux-finds it in Father Divine, the leader of a cultish spiritual movement who strips life of all joy with “say no to” policies regarding music, dance, cinema, alcohol, good food and more. Ernestine wants life to be like Hollywood, glamorous and glittery with happy endings everywhere. Ermina wants to have fun and romantic skirmishes with boys.

Joining the family is another character with more desires: Godfrey’s sister-in-law, Aunt Lily Ann (Asia Nicole Jackson), is educated but beaten down by a white world disinterested in a “smart colored woman.” She moves in, ostensibly to care for the girls but hoping to rekindle flames of attraction with Godfrey. Her advances denied, she seeks relief in bourbon, sexual exploits and post-World War II bebop, especially that of her favorite musician, Charlie “Yardbird” Parker. 

After Godfrey goes awol for three days and on the subway meets a German woman still trembling with the after-effects of surviving the Holocaust, the family is joined by a new stepmother, Gerte Schulte (Carrie Paff). Gerte wants primarily safety and, as an immigrant to the United States, a place to call home within a loving family.

Jackson, in her portrayal as a Black woman sapped of opportunity and stripped of power and respect by a male-dominated, white world, demonstrates tremendous range. Paff rises to the same level and is especially convincing as something like a bird frightened by unseen predators or, in one of the play’s frolicking dream sequences, standing atop a table dressed in a silk evening gown and belting out “Can’t Help Falling In Love” as if she were Marlene Dietrich.

As the younger sister whose underlying tension is expressed in a vibrating leg that erupts during moments of tension, Cross shows great early promise. She is a gymnastic performer, with physical tumbles and vaults contributing to well-timed pauses and effective side looks that add up to Ermina’s spunky profile. 

The costume, set, sound and lighting designs are finely attuned, supporting without overwhelming an emphasis on character or upstaging Nottage’s artistic vision. Crumbs premiered 30 years ago and is clearly ambitious in the topics covered—communism, racism, religious dogmatism, gender oppression and more.

Taking a note from Crumbs, choose to see the play and celebrate revolution, deny the tyranny of oppression, and experience the joy of human beings and their dreams rising above and beyond circumstance.

‘Crumbs From the Table of Joy,’ through May 25, Aurora Theater, 2081 Addison St., Berkeley, 510.843.4822; auroratheatre.org.

Collisionville merges punk roots with Americana

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On To Wit:, the new album from Collisionville, the Bay Area trio continues to merge various strains of American music—folk, blues, country, R&B, ragtime and more—into their own unique style. The group has been together for 20 years, experiencing the usual ups and downs of an indie outfit.

“We started out as a post-punk band, with none of the rootsy stuff,” said Stephen Pride, the band’s lead singer, guitarist and producer. “Our original drummer, M. E. Miller, came to the band from the world of No Wave. He’d played with John Zorn, Arto Lindsay and the Golden Palominos. He didn’t like rootsy styles. That’s been part of my thing for a long time, but I put it to the side when working with him. After he left the band, we returned to my original inspirations, using banjo, pedal steel and acoustic guitars to fill out our sound.

“We’ve come a long way over the years, in terms of growing musically and coming up with cool stuff,” Pride added. “The main goal these days is to make records that sound like no other band. I think To Wit: is very successful in that respect.” 

The process of making To Wit: presented the group with several unexpected hurdles. “Like other bands, we had to contend with Covid, when everything shut down. Then Conor, our bass player, who joined the band almost 20 years ago, let us know he was moving to Wisconsin. We had to hurry to get his parts for the songs recorded before he left. Our session at Sharkbite was the last thing he did, before he left town,” Pride recalled.

The band went into Oakland’s Sharkbite Studios, with engineer Scott Evans. “We recorded drums, bass and guitar simultaneously, in the studio, and overdubbed a bunch of other stuff later,” Pride said. “Scott takes it very seriously and has snacks on hand for the band, if you get hungry between takes. He’s encouraging, records our songs really well and has a supportive vibe to help us capture exactly the sound we want.”

Once the basic tracks were done, Pride went back to his home studio to do a few overdubs. “We also added some stuff at our rehearsal space and piano at Oakland’s Soundwave studios, with our pal, Tommy Carmine. David Phillips, who played with Tom Waits, added steel guitar to ‘Why Can’t We Always Be Falling in Love,’” he noted.

The album has the feel of the soundtrack of a film noir. Pride’s darkly humorous lyrics are complemented by his inventive guitar work and the rhythms laid down by Conor Thompson’s bass and Cory Snavely’s drums. There’s a hint of zydeco in “Give Back the Rose,” with its rolling bass line and bluesy two-step rhythm. Pride sings the lyric, a detached farewell to an unfaithful lover, in a superior manner, while admitting his own failings. 

Pride’s banjo strumming, and a slow kick drum pulse from Snavely, provide the introduction to “Hospital Bill.” It’s an ironic meditation on mortality, with a lyric full of puns, describing a cure that’s worse than the disease. 

“Why Can’t We Always Be Falling in Love” is a spritely country rocker, driven by a distorted melody line played on Pride’s guitar and Phillip’s steel guitar fills. Pride sings the lyric with a forlorn air, describing the tension one feels in a barroom, in the space between a fleeting infatuation and the reality of going home alone. 

This is the first music the band has released since 2018’s double LP, Stones, Keys, Flat Ninths, & Salvage. “We released that one on our Bandcamp page, one side at a time, pretending they were independent EPs,” Pride said. “This was an extremely ineffective marketing strategy. I don’t recommend anyone else try it. Since I’m not terribly prolific, after putting out that collection, we were spent for a while.”

That said, the band is looking forward to their upcoming record release party at Albany’s Ivy Room. “Live, we’re freer and looser than on the records, but sometimes with more mistakes, you know,” Pride said, laughing. “Vinnie Reeder, our new bass player, fits right in, so we can let it fly. I never get through a show without screwing something up. But there’s something about the spontaneity of having people there, watching and reacting, that gives the music a different kind of energy.”

Collisionville’s record release party for ‘To Wit:’ will be at the Ivy Room on Thursday, May 15, at 7pm, 860 San Pablo Ave., Albany, 510.526.5888; ivyroom.com.

Social Eyes: Week of May 15-21

THURSDAY, MAY 15

ELECTRONIC

STEREO MC’S

In 1992, the world received a chart-topping existentialist philosophy packaged with a dance beat: “You must be blind/if you can’t see/the gaping hole called reality,” Stereo MC’s sang in their breakout hit, “Connected.” Formed in the mid-’80s, the U.K. duo channeled their shared love of early hip-hop, funk and electronic music into a DIY empire over the next few years, pressing their own vinyl and co-founding their own label, Gee Street Records. They went on to win two Brit Awards, tour the globe and remix for the likes of U2 and Madonna. They haven’t stopped, and have recently brought the vibes to the Afro House scene. ADDIE MAHMASSANI

INFO: Thu, 8pm, The New Parish, 1743 San Pablo Ave., Oakland. $30. 510.227.8177.

THURSDAY, MAY 15

JAZZ

CYRUS NABIPOOR QUARTET

Portland trumpeter/composer Cyrus Nabipoor brings a top-notch West Coast combo to the Sound Room as part of a run of Bay Area gigs focusing on his sinuous, well-aerated original pieces. Formerly based in New Orleans, where he connected with most of his bandmates, he’s a savvy improviser and bandleader with a big, imposing sound that leaves plenty of space for his collaborators. He’s joined by San Mateo-raised Portland guitarist Jack Radsliff, well-traveled Los Angeles bassist Robin Sherman and Oakland drummer Shawn Myers, a player with a big-picture concept of African diaspora rhythms gleaned from studying in Ghana, New Orleans and Oberlin (with percussion great Jamey Haddad). ANDREW GILBERT

INFO: Thu, 7:30pm, The Sound Room, 3022 Broadway, Oakland. $29. 510.708.9691.

FRIDAY, MAY 16

FOLK

LILY HENLEY AND DUNCAN WICKEL

Language is an amazing thing. There are so many subtle nuances between different dialects. So, when Lily Henley decided to make a Sephardic Jewish folk album, she sang it in Ladino, a 500-year-old language with less than 100,000 speakers alive today. Ladino blends Spanish, Hebrew, Turkish and Arabic to form a language that crosses borders and time. This Friday, she is joined by world-class musician and award-winning bow instrumentalist, Duncan Wickel. Not confined to a single instrument, Wickel plays the fiddle, cello, guitar and bagpipes. The two create multi-cultural music that highlights the best of humanity. MAT WEIR

INFO: Fri, 8pm, The Back Room, 1984 Bonita Ave., Berkeley. $20/adv, $25/door. 510.654.3808. 

FRIDAY, MAY 16

EXPERIMENTAL

GUMBY’S JUNK

Oakland’s underground music scene has long been a fertile ground for sonic experimentation, and art rock band Gumby’s Junk is a prime specimen. Art rock softens the boundaries between music and conceptual art, thriving on the tension between the avant-garde and the accessible. Gumby’s Junk leans into that chaos, and their sound is a coherent mishmash: a bricolage of post-punk rhythm, spooky harmonies and lyrics that veer between deadpan and existential. Favoring texture over polish, Gumby’s Junk doesn’t just reflect the noise they’re surrounded by—they repurpose it, turning the scraps into something colorful and alive. SONYA BENNETT-BRANDT 

INFO: Fri, 8pm, Eli’s Mile High Club, 3629 Martin Luther King Jr. Way, Oakland. $12/adv, 15/door. 510.808.7565.

SATURDAY, MAY 17

PUNK

7SECONDS

Formed in 1980, 7Seconds is probably the most famous act to come out of Reno, Nevada. They’re also the first punk band to refer to themselves as a “hardcore” band, creating a label for a genre that continues—nay, thrives—today. If that first wasn’t enough, they were one of the earliest bands (along with Minor Threat) to embrace and talk about a straight edge lifestyle, abstaining from alcohol and drugs. Over the years, 7Seconds has gone through a plethora of lineup changes, but the core of the band has always been brothers Kevin Seconds and Steve Youth along with Bobby Adams. – MW

INFO: Fri, 7:30pm, 924 Gilman St., Berkeley. $25adv/$30door. 510.524.8180. 

SATURDAY, MAY 17

JAZZ

BILL FRISELL

Back in 1999 when guitarist Bill Frisell released Good Dog, Happy Man, it seemed both logical and surprising to find him delving into such loose and limber territory, playing unhurried jams with laconic funkiness and sweet, countrified melodies. Now it stands as a transitional project that marks one step on his journey, integrating roots idioms into his post-bop framework. Returning to The Freight, Frisell only brings one player featured on the record, steel guitar/Dobro maestro Greg Leisz, whose presence indicates he’ll be exploring similar terrain. But the rhythm section tandem of bassist Tony Scherr and drummer Kenny Wollesen suggests this flight might encounter some turbulence. – AG

INFO: Sat, 8pm, The Freight, 2020 Addison St., Berkeley. $54. 510.644.2020.

MOD BLUES Oakland band The Loved Ones play Thee Stork Club on Sunday. (Photo by Piper Ferguson)

SUNDAY, MAY 18

GARAGE

THE LOVED ONES

Oakland’s mod-blues revivalists, The Loved Ones have stepped back into the spotlight after a decade-long hiatus from performing, bringing with them the wisdom of experience and the spark of a fresh start. Influenced by ’60s R&B and Chicago blues, the Bay Area quartet developed a cult following for their boisterous, soulful rock blend and ability to twirl through a whole spate of other genres. Now, they’ve got European tour dates and a new LP in the works. If one missed ’em in ’95, catch ’em in 2025. – SBB 

INFO: Sun, 7pm, Thee Stork Club, 2330 Telegraph Ave., Oakland. $25. 510.859.8709.

SUNDAY, MAY 18

INDIE

NELLIE MCKAY

Since 2004, when Nellie McKay splashed into the music scene with her debut album, Get Away From Me, the studio recording has sold more than 100,000 copies. The cabaret, cavalier and generally slippery voice and sly lyrics mesh into pop/jazz/rock/reggae permutations. Jumping into the Bay Area with Gee Whiz: The Get Away From Me Demos, the show releases the new album’s 18 rare tracks that were recorded in 2002 and sold by McKay as a series of handmade CD-Rs. The demo collection has been re-ordered, remastered and includes three bonus songs. Are there still jerks and jailers and politicians veering into jingoism? Sure ’nuf, which is why her songs continue to beat the drum of pointed protest. LOU FANCHER

INFO: Sun, 7:30pm, Ivy Room, 860 San Pablo Ave., Albany. $27. 510.526.5888.

TUESDAY, MAY 20

FILM

PRODIGAL DAUGHTER

Every third Tuesday of the month, La Pena’s Immigrant Voices Film Series navigates the perilous waters and landscapes of immigrant stories. Directed and produced by Mabel Valdiviezo, Prodigal Daughter chronicles the filmmaker’s return to her family in Peru after 16 years of silence. Bravely facing the tremors of her childhood and the greater terrors of being an undocumented immigrant in the United States, her prodigal return investigates identity, family heritage, clashing definitions of “other” in her native land and in America. Following the 90-minute film, a discussion will be held with Valdiviezo and a representative from Street Level Health Project. – LF

INFO: Tue, 7:30pm, La Peña Cultural Center, 3105 Shattuck Ave., Berkeley. $10-25. 510.849.2568.

WEDNESDAY, MAY 21

HIP-HOP

DAVE BLUNTS

Dave Blunts is a rapper on the rise. The Utah-born phenom gained widespread attention in late 2024 when he shared videos of himself performing while using an oxygen tank, which he sometimes relies on for health challenges associated with his asthma and his nearly 600-pound weight. His song, “The Cup,” went viral on TikTok, garnering praise from Lil Yachty, Snoop Dogg and Kanye. In a series of revealing documentaries, Blunts has let his fans in on his whirlwind year, showing them behind-the-scenes events from the hospital rooms, where he battles heart failure, mixed with music festivals, where he hopes to surf “the right crowd” someday. – AM

INFO: Wed, 8pm, Cornerstone, 2367 Shattuck Ave., Berkeley. $32. 510.214.8600.

Alameda chef John Thiel returns with Pizzeria Pappo

Chef John Thiel makes two kinds of pies at Pizzeria Pappo. Alamedans enjoyed Thiel’s cooking for nearly two decades at his previous restaurant, Pappo, which closed in early 2022. When we spoke on the phone, Thiel told me that the community was very supportive of Pappo during the pandemic. But coming out of it, he recalled, “We all were pretty exhausted because we worked straight through it.” This resulted in emotional and physical fatigue for everyone on staff.

The chef decided to take a break, recharge and figure out a new concept. Pizzeria Pappo, which opened earlier this year, is smaller than Pappo and more casual. I walked in at lunchtime to try a slice of that day’s special Sicilian pizza. The “spicy papporoni” ($9) was topped with tomato sauce, Ezzo pepperoni, goat horn peppers, hot honey, mozzarella, ribbons of basil and pretty, white blobs of stracciatella—a soft cheese, not the ice cream flavor. Thiel’s exceptional crust was baked to perfection, golden, tall and crunchy. When Sicilian pies come out of the oven like this, they immediately win over my affection and devotion.

For now, the Sicilian version is only available as a special, slice by slice. But Thiel, who grew up in New York, also makes a thin “East Coast” pizza available by the slice or as a whole pie. Customers have described it to the chef as “the best New York pizza” they’ve had on the West Coast.

“I wasn’t trying to make New York pizza,” Thiel said. “But I think maybe I did. People have complimented it—‘This would stand up in a Manhattan slice shop.’   

He added, “As a chef, I’ve played around with pizza and dough and bread, and things that are a little simpler to produce along the way in my career.” But he only recently studied at the San Francisco Baking Institute to learn about fermentation and the relationship between flour, water, yeast and salt. “Over the last few years, I really dove into it to enhance my knowledge and build up confidence with it,” he said.

Pappo was a Mediterranean restaurant featuring French, Spanish, Californian and Italian cuisines. Before opening Pappo, Thiel trained at the California Culinary Academy and then worked at Bay Wolf. While pizza is the main focus of the new menu, those formative influences show up in other dishes too. A plate of meatballs in marinara sauce ($14) is simple but spectacular. The flavor of the tomato sauce is bright, acidic and laced with fresh herbs. The dinner menu expands to include pasta, salads, chicken and eggplant parmigiana, and antipasti. 

At lunch, Thiel also makes three kinds of panino. Mortadella and mozzarella ($16.50), panko-crusted eggplant ($16) and the one I tried, a fried chicken cutlet ($17.50)—a hearty meal unto itself. The sandwich bread is a house-baked schiacciata. It’s similar to focaccia, and after a couple of bites I thought, “How come schiacciata isn’t as popular as focaccia?” Pizzeria Pappo is certainly making a case for it to become a trendy bread.

While Pappo was on the east side of Alameda, the pizzeria opened on the west side. And Thiel’s old customers have found it.

“I have a lot of great supporters who are coming over and trying the new concept,” he said. “Pizza is very accessible. Families can come in with their kids, and that wasn’t the case at my other restaurant. The goal here was anybody can come and get a slice.” Pappo had a full bar and about 50 seats, 30 more than the pizzeria. “This was about getting a little bit smaller in-house and then having a good takeout business as well,” Thiel added. 

Currently, the bar menu serves all Italian wines and local beers from Ghost Town, Almanac and Humble Sea breweries. With the help of a soft-serve maker, the chef has also built dessert recipes around the organic Strauss Family Creamery’s ice cream base. There’s one with a strawberry rhubarb topping and a spumoni with chocolate chips, toasted pistachios and cherries. He described them as “fun, different flavors that gussy up ice cream.”

Pizzeria Pappo, 709 Santa Clara Ave., Alameda. Open Tue-Sat, 11:30am to 2:30pm and 5–8:30pm. 510.473.0613. pizzeriapappo.com

Local bands take center stage at free Tenderloin Music Festival

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Music festival season is upon us. And while the Bay Area has a few to offer, Guillermo Goyri of Psyched! Radio is presenting the second Tenderloin Music & Arts Festival—given to the people at no cost. That’s right it’s FREE, no strings attached. 

Daytime shows will be held at Dodge Alley, Civic Center Plaza and The Phoenix Hotel on May 16–May 18, with a selection of evening shows at Edinburgh Castle and Kozy Kar. This festival features some of our favorite East Bay bands, including Oakland’s Fake Fruit, whose lead singer Hannah D’Mato says the band feels “honored to be a headliner on a festival with so much LatinX representation.” The festival does have a fair share of LatinX artists on board, but it’s definitely not limited in sound and culture.

“This festival has something for everyone,” adds D’Mato. 

The Tenderloin Music Festival is one of two music festivals from Psyched! Radio, along with autumn’s Psyched! Fest.  

“The Tenderloin Music Festival takes place just in the TL [Tenderloin] and has 95% Northern California and Bay Area bands, including 10 from the East Bay,” said Goyri.

“Along with the live shows, we’re also helping to raise money for the trans community,” said Goyri. “We’re hoping to get exposure on the positive aspects of the TL and raise awareness for what the area needs.” 

The Tenderloin is often at the center of over-exaggerated controversy, with emphasis on the area’s crime rate, challenges with unhoused individuals and dependency issues. Psyched! Radio is choosing to focus on the art and potential of the area as noticeable changes are being made. 

Local trio Buzzed Lightbeer, who played last year’s festival, are returning this year. “Art is for everyone and everyone can make art, no matter who they are, where they come from or where they are at,” said Gabi Araujo, vocalist and rhythm guitarist. “[We’re] stoked to be playing at a festival that takes place in such an underserved area.” 

Araujo adds that Psyched! Radio brings talent to their festival lineups that other promoters won’t generally take a risk on. “They book bands based on the sound not marketability or who sells the most.”

Oakland’s Fatale—who describe their style as “Riot Girl Metal with trash influences”—is playing this festival for the first time. Also new to the festival is East Bay’s Pure Hex. 

The Tenderloin Music & Arts Festival has 61 artists on its roster, including several East Bay artists like Xocé Román, Trough and LAHORKA. 

Pedro Rolón, who does synth and vocals for LAHORKA, expressed that they are “thrilled to be on board” and “share their labor of love” with festival goers this year, while Tricky FM—San Francisco-based artist Hana Freed—says she’s “ready to go crazy!” at her first time playing the festival.

“Performing live is keeping my joy alive,” Freed said. “All of my favorite bands come from Oakland!” 

For more info, visit: psychedradiosf.com/tenderloinfest2025.

Free Will Astrology: Week of May 14

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ARIES (March 21-April 19): What may appear to be slow or static is actually moving. The developing changes are imperceptible from day to day, but incrementally substantial. So please maintain your faith in the diligent, determined approach. Give yourself pep talks that renew your deeply-felt motivation. Ignore the judgment and criticism of people who have no inkling of how hard you have been working. In the long run, you will prove that gradual progress can be the most enduring.

TAURUS (April 20-May 20): The most successful people aren’t those who merely follow their passion, but those who follow their curiosity. Honoring the guidance of our passions motivates us, but it can also narrow our focus. Heeding the call of our curiosity emboldens our adaptability, exploration and maximum openness to new possibilities. In that spirit, Taurus, I invite you to celebrate your yearning to know and discover. Instead of aching for total clarity about your life’s mission, investigate the subtle threads of what piques your curiosity. Experiment with being an intrigued adventurer.

GEMINI (May 21-June 20): Gemini author Huston Smith was a religious scholar who wrote 13 books. But he was dedicated to experiencing religions from the inside rather than simply studying them academically. Smith danced with Whirling Dervishes, practiced Zen meditation with a master and ingested peyote with Native Americans, embodying his view that real understanding requires participation, not just observation. In the spirit of his disciplined devotion, I invite you to seek out opportunities to learn through experience as much as theory. Leave your safety zone, if necessary, to engage with unfamiliar experiences that expand your soul. Be inspired by how Smith immersed himself in wisdom that couldn’t come from books alone.

CANCER (June 21-July 22): More than 2,000 years ago, people living in what’s now the Peruvian desert began etching huge designs of animals and plants in the earth. The makers moved a lot of dirt! Here’s the mystery: Some of the gigantic images of birds, spiders and other creatures are still visible today, but can only be deciphered from high above. And there were, of course, no airplanes in ancient times to aid in depicting the figures. Let’s use this as a metaphor for one of your upcoming tasks, Cancerian. I invite you to initiate or intensify work on a labor of love that will motivate you to survey your life from the vantage point of a bird or plane or mountaintop.

LEO (July 23-Aug. 22): You now have extra power to detect previously veiled patterns and hidden agendas. That’s why I urge you to be alert for zesty revelations that may seem to arrive out of nowhere. They could even arise from situations you have assumed were thoroughly explored and understood. These are blessings, in my opinion. You should expect and welcome the full emergence of truths that have been ripening below the surface of your awareness. Even if they are initially surprising or daunting, you will ultimately be glad they have finally appeared.

VIRGO (Aug. 23-Sept. 22): Renowned Virgo author Nassim Nicholas Taleb has called for the discontinuation of the Nobel Prize in Economics. He says it rewards economists who express bad ideas that cause great damage. He also delivers ringing critiques of other economists widely regarded as top luminaries. Taleb has a lot of credibility. His book The Black Swan was named one of the most influential books since World War II. I propose we make him your inspirational role model for now, Virgo. May he incite you to question authority to the max. May he rouse you to bypass so-called experts, alleged mavens and supposed wizards. Be your own masterful authority.

LIBRA (Sept. 23-Oct. 22): I predict that your usual mental agility will be even more robust in the coming weeks. Although this could possibly lead you to overthink everything, I don’t believe that’s what will happen. Instead, I suspect your extra cognitive flexibility will be highly practical and useful. It will enable you to approach problems from multiple angles simultaneously—and come up with hybrid solutions that are quite ingenious. A possibility that initially seems improbable may become feasible when you reconfigure its elements. PS: Your natural curiosity will serve you best when directed toward making connections between seemingly unrelated people and fields.

SCORPIO (Oct. 23-Nov. 21): You’re ready to go to the next evolutionary stage of a close alliance. Although you may not feel entirely prepared for the challenge, I believe you will be guided by your deeper wisdom to do what’s necessary. One way I can help is to provide exhilarating words that boost your daring spirit. With that in mind, I offer you a passage from poet William Blake. Say it to your special friend if that feels right, or find other words appropriate to your style. Blake wrote, “You are the fierce angel that carves my soul into brightness, the eternal fire that burns away my dross. You are the golden thread spun by the hand of heaven, weaving me into the fabric of infinite delight. Your love is a furnace of stars, a vision that consumes my mortal sight, leaving me radiant and undone. In your embrace, I find the gates of paradise thrown wide.”

SAGITTARIUS (Nov. 22-Dec. 21): In ancient Egypt, mirrors were composed of polished copper. To remain properly reflective, they required continual maintenance. Let’s take that as a metaphor for one of your key tasks in the coming weeks. It’s high time to do creative upkeep on your relationships with influences that provide you with feedback on how you’re doing. Are your intended effects pretty close to your actual effects? Does your self-image match the way you are perceived by others? Are you getting the right kind of input to help you stay on course?

CAPRICORN (Dec. 22-Jan. 19): Chances to initiate creative transformations will come from unexpected sources in the coming days. I guarantee it. But will you be sufficiently receptive to take maximum advantage? The purpose of this horoscope is to nudge you to shed your expectations so you will be tenderly, curiously open to surprising help and inspiration. What sweet interruptions and graceful detours will flow your way if you are willing to depart from your usual script? I predict that your leadership qualities will generate the greatest good for all concerned if you are willing to relinquish full control and be flexibly eager to entertain intuitive breakthroughs.

AQUARIUS (Jan. 20-Feb. 18): For many Indigenous people of California, acorns were part of every meal. Nuts from oak trees were used to create bread, soups, dumplings, pancakes, gravy and porridge. But making them edible required strenuous work. In their natural state, they taste bitter and require multiple soakings to leach out the astringent ingredient. Is there a metaphorical equivalent for you, Aquarius? An element that can be important, but needs a lot of work, refinement and preparation? If so, now is a good time to develop new approaches to making it fully available.

PISCES (Feb. 19-March 20): When Pisces-born Jane Hirshfield was a young poet, she mostly stopped writing poetry for eight years. During that time, she was a full-time student of Zen Buddhism and lived for three years at a monastery. When she resumed her craft, it was infused with what she had learned. Her meditative practice had honed her observational skills, her appreciation of the rich details of daily life, and her understanding that silence could be a form of communication. In the spirit of the wealth she gathered from stillness, calm and discipline, I invite you to enjoy your own spiritual sabbatical, dear Pisces. The coming weeks will be an excellent time to relax into the most intriguing mysteries.

Homework: What do you want more than anything else but fear you’re not worthy of? Newsletter.FreeWillAstrology.com

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ARIES (March 21-April 19): What may appear to be slow or static is actually moving. The developing changes are imperceptible from day to day, but incrementally substantial. So please maintain your faith in the diligent, determined approach. Give yourself pep talks that renew your deeply-felt motivation. Ignore the judgment and criticism of people who have no inkling of how...
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