Mia Comida Casera keeps on cooking

After the lunch-hour rush, Jack London Square empties out. It’s not post-apocalyptic, ghost-town quiet, but it’s also not a bustling hub of activity. The Waterfront Hotel’s closure at the end of January contributed to the decrease in pedestrian traffic. When Alfonso Dominguez signed the lease to open Mia, a taqueria and mezcaleria, there was a 50/50 chance that the Oakland A’s ballpark would also be built nearby. Without a hotel and sports complex to anchor the area, the neighborhood now drifts through a patch of doldrums.

Dominguez and his mother Gloria closed Tamarindo at the end of 2019. During our phone interview, Dominguez was philosophical about the realities of running a business in 2025, which he forecasts as a recession year. “I’m old enough to see that life is a pendulum,” he said. “When it’s bad, people become resilient and do different things and finally change. I guess I have that inner hope.”

But he’s also a pragmatist. Mia is a small taqueria compared to Tamarindo, but he designed it with a full mezcal bar. “I still love Oakland,” he said. “And I’m going to tell you, right now, it’s completely hard to run a business. The margins are even smaller.”

Dominguez said the weekends are good and so are the prospects for summer. To differentiate Mia from some of the other high-end restaurants in the Square, he conceived it as a place for diners to have a $20 lunch. “Agua fresca, fresh jicama and a good steak burrito. Where the hell are you going to get that?” he asked.

Mia’s menu is a take on taquerias from all over Mexico. “We have different styles of tacos from Tijuana to Mexico City,” he said. “Recipes from the Yucatan and Puebla.” But the restaurant also makes a “gringo burrito” served with guacamole and sour cream, two ingredients Mexicans wouldn’t traditionally include.

Dominguez’s parents have operated Taqueria Salsa in Antioch since 1989. As the son of restaurant owners, he watched many culinary trends come and go. “People from Jalisco, they will never put cheese on birria,” he said. “Everybody loves cheese, but there are certain things I tend to be stubborn about. And I’m not going to do trends here.”

The regular menu offers diners four types of tacos to choose from: De La Calle ($4.50), with a soft corn tortilla, meat, whole beans, onion and cilantro. Tijuanense ($6), with a hand-made corn tortilla, meat, whole beans, guacamole. Sonorense ($5), with a hand-made flour tortilla, meat, whole beans, cabbage and salsa fresca. And Tacos De Papa (4 for $14), with crispy corn tacos filled with potato and topped with cabbage, cotija cheese and salsa.

The Tijuanense hand-made tortillas are worth the additional $1.50. The cook warms them on the grill until they’re tender. I also tried all of the specials of the day when I visited. A crispy-shelled tinga tostada ($12) was layered with shredded chicken, cabbage, sour cream and cotija cheese. Papas bravas ($8) is a small plate of crispy potatoes, tossed in salsa macha and topped with an eye-opening spicy cilantro salsa that awakens the senses but also tastes good.

Everyone’s favorite dish was definitely a trio of crispy shrimp tacos ($16); a perfect combination of melted cheese, cabbage and guacamole. When he’s taken these tacos off the menu, people wrote angry letters to Dominguez asking him to bring them back. “I remember we got this one from a corporate head at Chevron; he used to come in, and he wrote a letter,” Dominguez said. “It was hilarious so we had to bring them back.” 

Those crispy tacos and the chilaquiles are his mother’s recipes. “We do specials all the time,” he said. “She loves to come in and consult, so we sometimes revisit dishes from Tamarindo.” Dominguez added that Tamarindo was the first mezcal bar in the East Bay. “Maybe in the Bay Area,” he said. “I don’t think anybody was doing that. And this bar is only agave, too, so I think that’s special, right?”

He remains hopeful that The Waterfront will reopen. “We have a lot to deal with as far as people’s feelings about coming to Oakland to eat,” he said. “It’s definitely better now, and there’s a new mayor, but a huge marketing campaign needs to happen.”

Mia, 439 Water St., Oakland. Open Tue 5-9pm, Wed-Sat 11am to 9pm, Sun 11am to 4pm.  510.701.6455. miaoakland.com

Free Will Astrology: Week of April 30

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ARIES (March 21-April 19): To create microgardens, you plant vegetables and herbs in small containers placed on your porch, balcony, window sills and kitchen counter. Lettuce, peas, spinach and basil might be among your small bounties. I encourage you to use this practice as a main metaphor in the coming weeks. In other words, gravitate away from huge, expansive visions, and instead work creatively within existing constraints. For now at least, “less is more” should be your operative motto. Meditate on how apparent limitations might lead to inviting innovations. Seek out abundance in unlikely places.

TAURUS (April 20-May 20): Taurus author Nellie Bly (1864–1922) was a daring trailblazer. It was almost impossible for a woman to be a journalist in the 19th century, but she did it anyway. One of her sensational groundbreaking stories came when she did an undercover assignment in New York’s Women’s Lunatic Asylum. Her reporting on the neglect and brutality there prompted major reforms. I nominate Bly as your role model for the foreseeable future. You are, I believe, poised for epic, even heroic adventures, in service to a greater good. (PS: Bly also made a solo trip around the world and wrote 15 books.)

GEMINI (May 21-June 20): Gemini painter Henri Rousseau (1844–1910) never saw a jungle in person. In fact, he never left his native country of France. But he painted some of modern art’s most vivid jungle scenes. How did that happen? Well, he visited zoos and botanical gardens, perused images of tropical forests in books, and heard stories from soldiers who had visited jungles abroad. But mostly, he had a flourishing imagination that he treated with reverent respect. I urge you to follow his lead, Gemini. Through the joyful, extravagant power of your imagination, get the inspiration and education you need. The next three weeks will be prime time to do so.

CANCER (June 21-July 22): No, ruby-throated hummingbirds don’t hitch rides on airplanes or the backs of geese. They make their epic migrations completely under their own power. To get to their wintering grounds, many fly alone from the southern United States to the Yucatan Peninsula, crossing the 500-mile expanse of the Gulf of Mexico in 20 hours. I don’t recommend you attempt heroic feats like theirs in the coming weeks, Cancerian. More than usual, you need and deserve to call on support and help. Don’t be shy about getting the exact boosts you require. It’s time to harvest the favors you are owed and to be specific in articulating your wishes.

LEO (July 23-Aug. 22): The golden pheasant is dazzling. Among the bright colors that appear in its plumage are gold, red, orange, yellow, blue, black, green, cinnamon and chestnut. In accordance with astrological omens, I name this charismatic bird to be your spirit creature for the coming weeks. Feel free to embrace your inner golden pheasant and express it vividly wherever you go. This is a perfect time to boldly showcase your beauty and magnificence, even as you fully display your talents and assets. I brazenly predict that your enthusiastic expression of self-love will be a good influence on almost everyone you encounter.

VIRGO (Aug. 23-Sept. 22): Virgo poet and visual artist Dorothea Tanning (1910–2012) had a few mottoes that endlessly nurtured her abundant creative output. Here’s one: “Keep your eye on your inner world and keep away from ads, idiots and movie stars.” As excellent as that advice is, it’s a challenge to follow it all the time. If we want to function effectively, we can’t always be focused on our inner worlds. However, I do believe you are now in a phase when you’re wise to heed her counsel more than usual. Your soul’s depths have a lot to teach you. Your deep intuition is full of useful revelations. Don’t get distracted from them by listening too much to ads, idiots and celebrities.

LIBRA (Sept. 23-Oct. 22): Ribonucleic acid (RNA) is essential for the functioning of your body and every other animal’s. It carries instructions about how to build proteins, and your cells are full of it. We humans can’t edit this magic substance, but octopuses can. They do it on the fly, enabling them to adapt quickly to changing environmental conditions. Even though you Libras can’t match their amazing power with RNA, you do have a substantial capacity to rewrite your plans and adjust your mindset. And this talent of yours will be especially available to you in the coming weeks. Your flexibility and adaptability will not only help you navigate surprises but may also open up exciting new opportunities.

SCORPIO (Oct. 23-Nov. 21): Is there a sanctuary you can retreat to? A relaxing oasis where you can slip away from the world’s colorful madness? I would love for you to be bold enough to seek the precise healing you need. You have every right to escape the rotting status quo and give yourself full permission to hide from pressure, demands and expectations. Is there music that brings you deep consolation? Are there books and teachers that activate your profound soul wisdom? Keep that good stuff nearby. It’s time for focused relief and regeneration.

SAGITTARIUS (Nov. 22-Dec. 21): The chemical element known as arsenic is notoriously toxic for humans, but has long been useful in small amounts. Ancient Chinese metallurgists discovered that blending it with copper and tin made the finest, strongest bronze. In modern times, arsenic fortifies the lead in car batteries. People in the 19th century sometimes ingested tiny doses as a stimulant. In this spirit, Sagittarius, I invite you to transform potentially challenging elements in your life into sources of strength. Can you find ways to incorporate iffy factors instead of eliminating them? I assure you that you have the power to recognize value in things others may neglect or reject.

CAPRICORN (Dec. 22-Jan. 19): Renowned Capricorn author Henry Miller (1891–1980) had to wait far too long before getting readers in his home country, the United States. American censors regarded his explosive texts as too racy and sexy. They forbade the publication of his books until he was 69 years old! His spirit was forever resolute and uncrushable, though. In accordance with astrological omens, Capricorn, I recommend you adopt his counsel on the subject of wonders and marvels. Miller wrote, “The miracle is that the honey is always there, right under your nose, only you were too busy searching elsewhere to realize it.” Here’s another gem from Miller: He advised us “to make the miracle more and more miraculous, to swear allegiance to nothing, but live only miraculously, think only miraculously, die miraculously.”

AQUARIUS (Jan. 20-Feb. 18): For now, everything depends on your foundation, your roots and your support system. If I were you, I would devote myself to nurturing them. Please note that you’re not in any jeopardy. I don’t foresee strains or tremors. But your graduation to your next set of interesting challenges will require you to be snugly stable, secure and steady. This is one time when being thoroughly ensconced in your comfort zone is a beautiful asset, not a detriment to be transcended.

PISCES (Feb. 19-March 20): The coming weeks are a favorable time for you to build symbolic bridges. I hope you will link resources that aren’t yet linked. I hope you will work to connect people whose merger would help you, and I hope you will begin planning to move from where you are now to the next chapter of your life. I advise you to not model your metaphorical bridges after modern steel suspension bridges, though. Instead, be inspired by the flexible, natural and intimate bridges made by the ancient Incas. Woven from ichu grass via community efforts, they were strong enough to span rivers and canyons in the Andes mountains.

Homework: Take yourself on a date to a mysterious situation that fascinates you. Newsletter.FreeWillAstrology.com

Review of ‘The Shrouds’: Keep digging

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Writer-director David Cronenberg, the veteran specialist in “body horror” tales, sicker-than-thou science fiction and disturbing investigations into the latest trends in psychological torment, has recently spent his cinematic capital on things like Crimes of the Future or Maps to the Stars. That is, big-picture scenarios about modern people entangled in science-based predicaments. Cronenberg’s characters are always in some sort of jeopardy. They have good reason to feel apprehensive. 

With that in mind, The Shrouds takes us into the life and times of a wealthy, renowned technocrat named Karsh (played by French actor Vincent Cassel), whose latest venture sounds like some type of techie joke. 

In addition to his career as a producer of industrial videos, Karsh has gone into the cemetery business with a property called The Shrouds at Gravetech. The experience begins when a customer buys a burial plot for, say, a recently deceased loved one. The remains are carefully wrapped in a special shroud equipped with the very latest sensors and cameras, connected online to the company, and then interred on the company’s nicely landscaped property. 

Using that setup, the survivors can view live video of the body as it goes through various stages—decomposition, etc.—in the ground, on their own computers or the handsomely mounted graveside monitors. 

It’s at this point in the film that we ask: Can you run that by us again? You mean someone is willing to pay premium prices—Karsh’s cemetery is expensively decorated, and even boasts an on-site restaurant with eerie “corpse” sculptures—to bury someone in the ground, and then check in on the stiff from time to time? On video? Just to see how things are progressing? Who the hell would want to do that? 

Karsh would. His late beloved partner Becca is buried there with tracking devices embedded in and around her remains, and he often visits her resting place on Shroudcam for a high-res view of her decaying body. Any prospective “corpse voyeur” could do the same with their own loved one, for a price. Business seems to be thriving at The Shrouds.

Despite the morbid atmosphere Karsh is surrounded by several friends and business associates when he isn’t zooming through the countryside in his luxury sports car (the film was shot in Cronenberg’s native province of Ontario, Canada). 

Prominent among Karsh’s crowd is Becca’s sister Terry (Diane Kruger, who also portrays Becca in flashbacks), a dog groomer who’s obviously interested in the boss—although he doesn’t reciprocate. Terry mostly flutters around Karsh like the slo-mo moths in the film’s opening credits. She has sexual jealousy memories of him from before; he doesn’t seem to notice. 

Terry’s ex, a seemingly amiable nerd named Maury (Guy Pearce) occasionally pops up too. Most curious of the hangers-on is Honey, Karsh’s AI assistant, sometimes a perky, inquisitive pixie, other times an animated koala, but always busy—perhaps too busily—meddling in Karsh’s affairs. 

The emotional weather report for all these two-dimensional characters changes drastically when Karsh is introduced to a fellow entrepreneur named Soo-Min (Sandrine Holt), a blind but very perceptive woman who runs her own cyber-graveyard in Budapest, Hungary. Through the worldly Soo-Min, Karsh gets up to speed on potential international rivals, including a Chinese mega-corporation and some teenage Russian hackers who may be behind the recent vandalism at Gravetech.

Cronenberg obviously delights in the unlikely setting of high-tech undertakers and overseas communist plots (we learn that the late Becca was once the victim of a Stalinist mind experiment) but mostly shuffles distractedly through Karsh’s living, breathing contemporaries. Cool, calm, collected Soo-Min is different.  

The Shrouds, not one of the filmmaker’s most compelling outings, startles us with queasy-making imagery that gives way to a chilly quasi-love-story. Neither side compensates for, or even seems to understand, the other. Maybe there’s a pertinent narrative buried somewhere in the relationship of Karsh and Soo-Min. Finding it might take hard work. Keep digging. 

*     *     *

In theaters

Slotozilla Reveals Insights on Finding the Best Free-Spin Offers for Players in Canada

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Published in cooperation between Slotozilla and East Bay Express

There are great options for Canadians to play online slots for free. Savvy casino players try to make the most of these offers and their time. Despite many offering free spins, not all casinos can be trusted and are worthy of spending time on. Many players find it hard to differentiate between good and bad operators.

Slotozilla is a reliable review site that aims to connect Canadians who enjoy reel spinning with the best free-spin no-deposit offers. Even though free spins come with no risk, players’ preferences differ. Slotozilla aggregates the best ones that fit every player’s needs.

How Free-Spin Bonuses for Canadian Players Work

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How Slotozilla Finds Perfect Casinos With the Best Free-Spin Offers

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Art Without Borders: How Migration Expands the Global Imagination

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Published in cooperation between MapleCasino.ca and the East Bay Express

Art, as a mode of cultural expression, is not limited to galleries or academic disciplines. It is present in cities, public performances and even digital media. Art connects people across different societies by allowing them to perceive alternative ways of being. 

When artists draw from personal experience, migration stories and cultural histories, they present new realities that are often absent from institutional narratives. Art becomes a tool for observation and reflection, contributing to how individuals imagine life beyond their own borders.

Art as Cultural Testimony

Art holds a unique position in how it documents the cultural memory of societies. From painting and theater to fashion and design, it captures modes of being that often fall outside traditional academic or historical records. Artists who have moved between regions, especially those with migrant backgrounds, often draw from their lived experiences to create narratives that blend heritage and observation.

Their output functions not just as personal expression but as cultural commentary, allowing viewers to encounter unfamiliar realities. Through form, color and movement, they make tangible the evolving ideas of belonging.

Artistic Practice and Urban Culture

Theater, especially when shaped by long-term collective practice and documentary research, can serve as a conduit between historical memory and present social conditions. Théâtre du Soleil, founded by Ariane Mnouchkine in France in 1964, exemplifies this approach through its international ensemble and cross-cultural repertoire. The troupe’s productions often merge classical texts with performance traditions from Asia, Africa and Europe. 

In Le Dernier Caravansérail, the group used firsthand accounts of displaced individuals from multiple regions to construct a multi-part narrative about movement, identity and belonging. Performed in converted warehouses and temporary theaters, the work made use of multilingual dialogue, physical choreography and shared space to engage audiences globally. Their touring structure, based on collective living and sustained artistic collaboration, reflects a form of theater that is both nomadic and rooted in shared inquiry.

Art and Cultural Representation in Digital Media

Digital media offers a growing space for the transmission and reinterpretation of cultural symbols. Animation, video games and virtual exhibitions regularly draw on traditional iconographies to construct new visual languages. 

One example is the Refik Anadol Studio, which uses machine learning to transform datasets such as city archives or museum collections into digital installations that blend memory, geography and abstract aesthetics. These works circulate globally and engage viewers with representations of collective cultural memory translated through digital form.

This method of cultural referencing also appears in game design. Certain Canadian casino platforms reviewed on Maple Casino feature titles such as Gates of Olympus 1000 and Temple Tumble, which incorporate Greco-Roman and Southeast Asian motifs. 

These games use architecture, symbols and color schemes influenced by regional art traditions to construct distinct visual environments. Although designed for a commercial context, their aesthetic frameworks rely on recognizable cultural markers, showing how global visual identities continue to inform digital entertainment.

Art in Public Discourse

The presence of artists in public dialogue contributes to a more nuanced form of societal engagement. Artistic works are not prescriptive; they do not dictate solutions, but they prompt thought and, at times, action. The Chinese artist Ai Weiwei has consistently used his practice to raise complex questions around identity, mobility and individual agency. 

His installations often appear in public spaces, museums and international forums, where they invite reflection through scale, material and symbolism. Works such as Sunflower Seeds, exhibited at Tate Modern, challenged viewers to consider collective labor, consumerism and cultural memory through quiet visual repetition. Artists like Ai Weiwei contribute modes of perception that resist binary logic, allowing audiences to reflect beyond the scope of policy or statistical framing.

Towards a Shared Cultural Imagination

Artistic forms such as music, theater, literature and visual art offer distinct yet complementary ways of interpreting themes like identity, movement and belonging. Each medium carries its own structure of meaning. Theater delivers presence through gesture and speech. Music captures emotional intensity through rhythm and tone. Visual art often invites ambiguity and sustained observation. 

These variations do not create opposition. Instead, they build a layered understanding of how ideas move and change across contexts. Looking at artistic expression comparatively reveals that the global imagination is not formed by uniform messages but through accumulated references, translated symbols and evolving practices. 

Artistic dialogues between regions, disciplines and traditions shape how societies understand both themselves and others. In this way, art offers more than cultural representation. It becomes a process through which people encounter unfamiliar perspectives and reconsider familiar ones, across both distance and time. 

Berkeley game store welcomes all to play

The clash of steel upon steel rings out across the valley floor. Banners ripple in the air as a low, relentless drumming urges thousands of dusty boots onward. A bugle cries out, sending nesting birds skyward. The smell of burning tar and scorched earth is heavy here, where row after row of archers line castle walls, releasing waves of flaming arrows into the enemy. A lone figure, a wizard, sits high atop the tallest tower, taking it all in, this battlefield where clans of orcs and humans wage war, where dwarves and elves and hobbits fight hideous beasts, and dragons circle the smoky skies.

No, this isn’t another episode of Game of Thrones or a Lord of the Rings sequel, but rather just a typical afternoon at Games of Berkeley, where players congregate en masse to test their skills against and with others. Magic: The Gathering, Warhammer, BattleTech, Pathfinder, Pokemon and Lorcana are but a few of the camps that make up this gaming community. And they all play under the watchful eye of Gareth O’ Beardsley, a life-size wizard statue that has become the store’s patron “Everythingmancer.”

“We have at least one event happening here every single night we’re open to the public,” says managing co-owner Gwendolyn Reza. “And on weekends we are absolutely packed.” Reza, along with managing co-owner Sean Gore and majority owner and Evil Overlord Erik Bigglestone, work hard to create a welcoming and inclusive environment for all ages. 

“It’s very important to us that people feel safe here. We’ve set specific expectations. And we’ve had to do some heavy policing at times,” Reza says. 

The three share the belief that Games of Berkeley is more than just a game shop, it’s a gateway to worlds unknown. Anyone is welcome to watch or participate, and many who do discover new realms they never knew existed.

EVERYTHINGMANCER Gamers play under the watchful eye of Gareth O’ Beardsley. (Photo by David R. Newman)

“We do a lot of handholding,” Bigglestone says, smiling. “Many customers who come in are only familiar with the classic board games they played as kids—Monopoly, Scrabble, etc. We are introducing them to a number of different alternatives.”

These alternatives include role-playing games (RPGs) like Dungeons & Dragons (D&D), first published in 1974 and commonly considered the first game of its kind, sparking an entire industry of RPG-based products. Then there are wargames like Warhammer, where players use miniature figures to simulate troops on a grand scale across a tabletop battlefield. Trading card games (TCGs) like Magic: The Gathering (MTG) and Pokemon are very popular. And for $5 customers can play any game from the store’s extensive library, or bring one of their own.

Game Master (GM) Phill, a Cal alum, has run Pathfinder games at the store for over 15 years. “It’s like D&D but different,” one player says.

“We’re very open and accepting of new gamers,” Phill says. “We like when people embrace our hobby.”

Another player quips, “Yeah, and I really get a high from explaining the rules …” This garners laughs from everyone in the room.

The current location of Games of Berkeley, at 2510 Durant Ave.—the one-time home of Tower Records—includes more than 11,000 square feet of space, with a mirrored, barrel ceiling. It’s an upgrade from the previous location at Shattuck and Center, with a better layout that includes upstairs offices, ADA-compliant bathrooms and three themed game rooms. This, Games of Berkeley’s fourth iteration, was founded in 1980 by Don Reents.

Bigglestone’s journey as owner began in 2013 when his parents retired, leaving the business to him. One of the keys to his success has been diversification. “My parents always made a big deal about it,” he says. “We don’t stock just games. We also have puppets, plastic figures, stickers, toys, etc.” Many people don’t realize that Games of Berkeley is considered the go-to place for puzzles, thanks to a longstanding relationship with Ravensburger. And dice have become a huge business.

“New materials and customization have made it so that anything is possible,” Bigglestone says. “It’s all part of the democratization of manufacturing.”

This diversification gives Games of Berkeley the edge when it comes to online shopping. “We cannot possibly challenge the low prices offered by Amazon,” Gore says. “But what we can do is offer personal interactions, enabling us to recommend an adjacent item that is not related by logic.”

He points to candles that smell like a tavern, and medieval cookbooks, and a host of other accessories that enhance gameplay. “I never want us to become stale,” he says. “We’re constantly adjusting to the market and trends in gaming.”

The stigma once associated with RPGs has mostly vanished, thanks to TV shows like Stranger Things. “For the first time in popular media, these fantasy role-playing gamers were portrayed not as stereotypical nerds or evil devil worshippers, but as actual, real young people,” says employee Will, who refrained from giving his last name. 

DECISIONS DECISIONS Games of Berkeley has thousands of games in stock, and the ability to special order anything under the sun. (Photo by David R. Newman)

Celebrities now endorse a wide variety of products and social media is abuzz with gaming resources, podcasts, and role-playing tutorials and entertainment. With this social acceptance has come a boom of independent releases, and local game developers often visit the store to play-test their ideas. “We used to have roughly 200 releases per year,” Bigglestone says. “Now it’s over 5,000.”

Bigglestone is the first to admit that Games of Berkeley would not exist without the amazing talents of the staff—about 15 employees—and the loyalty of their customers. As an example, when the pandemic hit, he sheltered-in-place to take care of his family while Reza and Gore ran the business. People ordered over 400 products online. When the dust had settled, Bigglestone offered the two part-ownership as thanks. “I’m very open and honest about this … we would not still be here if not for their efforts,” he says.

“I feel very humbled by this business,” Gore says. “We really deal more in memories than we do in pawn movement.”

Reza agrees. “As a species, we love to gather and problem-solve. That’s what gaming is all about.”

The three owners share a smile. It’s not their first, and it won’t be their last.

“It’s like the great stories, Mr. Frodo, the ones that really mattered. Full of darkness and danger they were, and sometimes you didn’t want to know the end because how could the end be happy? How could the world go back to the way it was when so much bad has happened? But in the end, it’s only a passing thing this shadow, even darkness must pass. A new day will come, and when the sun shines, it’ll shine out the clearer. I know now folks in those stories had lots of chances of turning back, only they didn’t. They kept going because they were holding on to something. That there’s some good in this world, Mr. Frodo, and it’s worth fighting for.”― Samwise Gamgee in Lord of the Rings: The Two Towers

Games of Berkeley, 2510 Durant Ave., Berkeley. 510.540.7822. gamesofberkeley.com

Oakland journalist reports threats after sharing public records

Kevin Jones and I have hosted the Doomloop Dispatch podcast for nearly a year now. Last week, we reached our 50th episode, with an interview with journalist Eric K. Arnold. Our episodes generally focus on being counter-narratives to what has been termed “the doom loop,” a catch-all phrase for a consistent campaign on social media and some legacy news outlets that focuses on what they interpret as a decline of a quality of life in Oakland and San Francisco.

While those outlets draw attention to often-exaggerated stories about crime, drug addiction and homelessness, Jones and I report on and interview activists, organizations and public figures who contribute positive actions to address those issues and ways our listeners can engage with them to help everyone in our communities thrive and prosper.

The Doomloop Dispatch hosts are not “shock jocks” in the tradition of Joe Rogan or Howard Stern. The primary focuses of our podcast are education and hyper-local community engagement, not confrontation. Which is why we were both surprised to find ourselves at the center of a controversial, and often frightening, campaign of terror and intimidation that made several headlines in the local press.

In late February of this year, Jones, a veteran Oakland journalist who has worked and written for KPIX, KTVU and the San Francisco Chronicle used his journalistic skills to help an ally with a restraining order against Omar Ward, also known as “JJ Smith” on X/Twitter. Through a public records search, Jones found Ward’s criminal record, which turned out to be extensive, and shared it on the social media platform. Ward was somehow notified of Jones’ findings, and though the records were public, objected to their disclosure.

According to a March 7 article by The San Francisco Standard, Ward is “a felon, convicted in a 2006 federal case for possession of cocaine with intent to distribute. Although some two dozen documents pertaining to the case have been sealed, his criminal record earned him the designation of ‘career offender,’ according to records that remain public. The court determined that Ward fell into ‘Criminal History Category VI,’ the highest category, and had an offense level of 34 (the highest possible is 43), indicating that he had numerous prior convictions. Ward was also arrested in 1998 during a domestic disturbance call, according to court records, and was convicted of possession of a controlled substance.” Though Jones told the person on whose behalf he was researching to proceed with caution, he thought his reporting would be the end of his involvement.

On March 1, Jones, also a musician, while waiting for a parking space and leaning on his Toyota Sienna in front of Oakland’s Thee Stork Club in order to unload his equipment, received a strange text message from a friend. The text included a video of him leaning against his van only a few minutes prior. When he saw that the video was posted under the “JJ Smith” handle on Twitter/X, Jones became concerned.

According to San Francisco’s The Phoenix Project in the article “JJ Smith and the Astroturf Network,” “JJ Smith became a local internet star by posting videos of drug users in the city’s long-troubled Tenderloin neighborhood. Smith’s videos became fodder for members of the Astroturf Network as it attacked progressive elected officials including former District Attorney Chesa Boudin and Supervisors Connie Chan, Aaron Peskin and Dean Preston.”

The article goes on to say that, “Smith liked to think of himself as a political activist, a truth-teller shining a light on human misery to grab the attention of elected officials.” However, his doom loop “porn” videos have been criticized by long-time homeless activists like Sara Shortt. “Even if you believe this is a means to an end, using vulnerable people as fodder in that battle is inexcusable, frankly,” Shortt said. 

Smith has been a willing tool for the Astroturf Network. Susan Dyer Reynolds, former Marina Times editor, featured Smith in a YouTube series in 2021 designed to “hold the District Attorney accountable.” Part of the money for the series came from the $200,000 Neighbors for a Better San Francisco, the political organization founded by right-wing Republican William Oberndorf, paid to Reynolds and her colleague Stanley Roberts in 2021.

As of March 1, Jones wasn’t aware of Smith’s involvement with the very narrative our podcast was dedicated to countering. 

“Omar started threatening me, so I blocked him on X and put him out of my memory,” Jones told The Standard, “but apparently he posted a video of me just leaning on my van, looking at my phone for 19 seconds.” Due to his lack of awareness of Ward’s involvement with the doom loop campaigns in SF, Jones dismissed the video and went inside for his gig. Around midnight, as he tells it, he returned to his van and found all of his tires slashed, a threatening note on his windshield and a sock stuffed into the gas tank. The sock appeared burned, as if someone had tried to light it on fire.

On March 2, I woke up to a text from Jones telling me about the vandalism. Having had similar experiences, though not as extreme, as a veteran journalist myself, I told him to preserve and record everything and contact the police as soon as possible. I also said it was fortunate that a note had been left behind because handwriting analysis could help confirm the identity of the responsible party. He sent me a photo of the note, which read:

“Have you ever seen a cheetah hunt it’s [sic] prey a cheetah is camouflage by there [sic] spots so there [sic] prey don’t see them then they move in at the right time.”

After we covered the incident in an episode of our podcast, citizen journalists like Sad Francisco and the nonprofit The Phoenix Project did small pieces on it, but it wasn’t until The Standard and SFist covered it that Ward admitted to writing the note that Jones found on his windshield but denied slashing his tires.

Before Jones and I became aware of Ward’s involvement with the doom loop and what The Phoenix Project has dubbed the Astroturf Network, which can be defined as organized activity intended to create a false impression of a widespread, spontaneously arising, grassroots political movement, we both assumed Ward had a personal vendetta against Jones for sharing his information. But when we learned of possible ideological intent behind the actions, the implications became more stark.

In the time since the publication of these articles, several other people have reached out to us saying they’ve experienced similar harassment and intimidation due to their activism and journalism. The investigation is ongoing, and there’s still time for more voices to tell their stories.

John Wehrle’s 50 years of art unveiled in ‘Time & Tide’ exhibition

From his time as a Vietnam War combat artist, to his iconic East Bay murals, to his recent digital photographic work, Richmond-based artist John Wehrle has used his insatiable curiosity about the world and human effects on it to inform his art.

“Time & Tide,” on view at the Richmond Art Center through June 14, is the first major exhibition to “comprehensively survey [his] work,” according to RAC materials. The show occupies all three RAC galleries.

Exhibition guest curator Jeff Nathanson first met Wehrle in 1991, when Nathanson was RAC director. “I visited him at a mural he was working on, and we went on to collaborate on an exhibit, ‘Sense of Place,’” he said. This led to a decades-long personal and professional relationship.

“Time & Tide” contains examples of Wehrle’s work in multiple media, but featuring the murals and public art presented a challenge. This was solved, Nathanson said, by creating both a slide show projecting images over the doorway to the RAC’s “Education” room, and by exhibiting Wehrle’s maquettes, small-scale models artists use when working on larger-scale artworks.

Also on display are some of the artist’s many paintings; sculptures, including TV War & Piece, clearly inspired by his wartime experiences and the American-culture-in-denial of the time; videos; and “stitched” photographs, which Nathanson described as a technique of connecting individual photos together to form a single image.

Linking many of the works is Wehrle’s “fascination and wonder at the world,” Nathanson said, alongside his sense of humor and knowledge of history. Also, “his technical proficiency is amazing.” 

That satirical humor is displayed, for example, in the 30-foot painting, Rising Tide, which depicts a partially flooded downtown San Francisco, which pedestrians, a guy in a rowboat and a guy  fishing seem to take for granted. Penguins slide down an awning, and a polar bear poses on a piece of ice.

Wehrle’s involvement with public art also goes back decades, and extends beyond the East Bay. For example he painted Galileo, Jupiter, Apollo, a large mural on the north retaining wall between Spring Street and Broadway in Los Angeles, as part of the 1984 Olympics and Arts Festival.

It depicts fragments of classical Greek buildings and statuary floating in space, while a sculptural piece shaped like a finger points to an astronaut on Jupiter’s left, “recall[ing] the central panel of Michelangelo’s Sistine Chapel,” according to one review.

“It was designed to be viewed as you drive past,” Nathanson said, comparing it to a film strip. “John started in film and conceptual performance art.”

Locally, swimmers at the Richmond Municipal Natatorium are treated to Plunge, a mural occupying the entire back wall of the interior, in which snowy egrets, Canada geese and a Great Blue heron share a waterway with a swimsuited woman, standing, with characteristic Wehrle whimsy, in front of a sign reading “No swimming.”

Revisionist History of San Pablo Ave, painted alongside the underpass of Hwy 80 at Barrett Avenue, “creates a facsimile of the street scene that existed before the freeway was there, peopled with the different cultural groups who lived in the area during the last 500 years or so,” according to Wehrle. “The storefront business evolved into historical themes, like the Liberty movie theater relating the events of the Kaiser Shipyard.”

This mural, begun in 1991, wasn’t completed until 1995. “Gratuitous visual mention of museum artists includes Frank Stella, Joseph Beuys, Deborah Butterfield, Roy Lichtenstein and others,” Wehrle mentions on his website.

The now-84-year-old artist continues to create, and Nathanson said the best way to experience “Time & Tide” is to “come take a journey with him. John’s art is not just a visual experience. It is an invitation to explore the complexities of our existence and connect with the emotions that define us as human beings.”

RAC visitors will have a chance to connect directly with the artist during a free panel discussion on April 26, 1-3pm, moderated by Nathanson. Panelists include Wehrle, Roberto Martinez, Kim Anno and Betsy Davids.

Visitors can also pick up maps for self-guided tours to view local Wehrle murals, and a catalogue of the exhibit is also available. Schools can book youth art tours, following an art-making session through this link: richmondartcenter.org/education/art-tours/.

‘Time & Tide,’ through June 14, Richmond Art Center, 2540 Barrett Ave., Richmond. Gallery open Wed-Sat, 10am to 4pm. Admission is free. 510.620.6772. richmondartcenter.org

Rock musical ‘The Code’ gets updated student production

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For people who doubt the unifying power of music, The Kilbanes will make them believers. The Oakland-based theatrical rock band founded and led by vocalist/guitarist/bassist Kate Kilbane and multi-instrumentalist/sound engineer Dan Moses excels in music propelled by the rhythms of rock and soulful songwriting. The original quartet remains in place, with Kilbane and Moses joined by electric guitarist/vocalist Josh Pollock and drummer Dan Harris.

When East Bay Express caught up with them in 2018, the band was rehearsing in a backyard garage-turned-studio. Kilbane and Moses are married and were at that time the parents of one child, 2-year-old Hazel Moses. The band was preparing for the premiere of Weightless, a rock-opera adaptation of the tale of two sisters told in Roman poet Ovid’s Metamorphoses.

In 2025 Hazel, now 9, is joined by Eliot Moses, age 3. Numerous projects, live appearances and three full-time jobs between Kilbane and Moses make for a hectic life. Still jamming in the backyard when not appearing in theaters and clubs across the Bay Area or on tour, the conversation now focuses on The Code. The pop-rock musical is poised to receive its second production April 25-27, featuring students in Oakland School for the Arts (OSA) Theater Pathways program.

MUSIC LIFE Kate Kilbane and Dan Moses of The Kilbanes are busy with numerous projects. (Photo by Pamela Gentile)

The American Conservatory Theater (A.C.T.)’s Young Conservatory in San Francisco originally commissioned the pop-rock musical, with book and music written by the couple. In an interview, Kilbane recalls being heavily involved and holding dozens of interviews and workshop sessions with A.C.T. students. From those interactions, Kilbane wrote an ensemble drama that tells the story of two groups of students who attended the same school 100 years apart. With OSA youth, a shorter, 10-day interaction provided an opportunity for updating and exchanging important performance information.

The plot contains a mystery Kilbane says puts the audience on the same footing she had while writing it. “What’s exciting is the stakes of solving the mystery,” she said. “It’s great to feel you’re in partnership with the audience. It’s like we’re all trying to figure something out together; move toward a conclusion. When I wrote an early draft it was the same: I didn’t know where it would go. The process was figuring out the unknown.”

During early revisions, Kilbane made cuts in the text, including characters. “I ended up cutting one character I realized we didn’t need,” she said. “We could learn the information he had without it coming out of his mouth.”

Moses said about the score, “We love to be style chameleons. We asked the students what they were listening to. We made a collective playlist and tried to match that pop aesthetic. We were going for all electronic drums, heavy synthesizer for keyboards and rhyming.”

Rhyming, in Kilbane’s vernacular, is not limited to actual word rhymes, but to matching elements within music that might share in-common word choices, slang, tone or other mirroring techniques.

Kilbane said it’s always a revelation to hear someone other than the band sing a song they’ve written. Listening to students rehearse, they learned vital lessons that shaped the musical. 

“We learned to use only a little bit of real estate to deliver a lot of information. We learned the moments of a song that felt resonant in their bodies,” Kilbane said. “That laid the groundwork. The songs about what intense grief does to a human body were unexpectedly harder for students: We sensed hesitance. We learned that we needed to give a song a chance to build. It’s a lesson we can apply to humanity. I might be immediately emotionally connected to something, but everybody else needs a doorway.”

DOORWAYS TO HUMANITY Listening to students rehearse, the Kilbanes learned vital lessons that shaped the musical. (Photo by Georgia Peterson)

Moses said one song, “Holy Ground,” is the only one sung from a teacher’s perspective, not a student’s. “She’s an enigmatic teacher who loves their school like it’s their church,” he said. “The chords and melody tell of a place where she and students gather and the rituals of education are holy.”

Kilbane selected another track, “A Perfect Life,” that fulfills the band’s rhyming/mirroring philosophy. “It’s a good match to ‘Holy Ground,’” she said. “It’s a student who feels she’s perfect. ‘Holy Ground’ is about chasing your own path and not being like anyone else. ‘A Perfect Life’ shows you can figure out who you want to be and chase that.”

While the OSA students trace their journeys, The Kilbanes will delve deep into their current project, an adaptation of Willa Cather’s My Ántonia commissioned by Theater Latté Da and slated for the Minneapolis-based company’s 2026-27 season.

Social Eyes: Week of April 24-30

THURSDAY, APRIL 24

COUNTRY

STURGILL SIMPSON

Kentucky-born actor and musician Sturgill Simpson has been showing up on the big screen lately. In 2021, he appeared as bootlegger Henry Grammer alongside fellow outlaw country star Jason Isbell in Martin Scorsese’s Killers of the Flower Moon. In 2023, fans of HBO’s The Righteous Gemstones reveled in his doomsdayer character, Marshall. On the music front, the Grammy-winner recently released Passage du Desir, his first album recorded under the moniker Johnny Blue Skies. Written in Paris, the songs are partly inspired by a vocal cord injury that silenced the singer for months and shook him to his core. A powerful record. ADDIE MAHMASSANI

INFO: Thu, 7pm, Greek Theatre, 2001 Gayley Rd., Berkeley. $95. 510.871.9225.

THURSDAY, APRIL 24

JAZZ

GARY BARTZ

At 84, saxophonist Gary Bartz is a bona fide jazz legend who came up in the white-hot crucible of bands led by Art Blakey, Woody Shaw, McCoy Tyner and Miles Davis. Named an NEA Jazz Master last year, the Baltimore native has lived in Emeryville since 2017, but it’s still a rare treat to find him on local stages. On the cusp of releasing his first new album in over a decade, Bartz hasn’t lost a step. Moving seamlessly from post-bop to blues to funk, he’s a lion in winter, playing with the searing tone, sardonic humor and structural awareness that has long distinguished his work. ANDREW GILBERT

INFO: Thu, 8pm, Yoshi’s, 510 Embarcadero West, Oakland. $39–$79. 510.238.9200.

THURSDAY, APRIL 24

PUNK

DOG PARTY

There’s an innate chemistry in sibling-led bands. Think the Beach Boys, Kings of Leon, HAIM, Oasis—a rapport and charge that can only come from blood ties. In this long tradition, Sacramento punk-rock duo Gwendolyn and Lucy Giles released their debut EP, Dog Party, when they were 13 and 11 years old, respectively, and they’ve been cranking out catchy, garage-pop anthems with snarling riffs, tight harmonies and DIY grit ever since. They’ve opened for Green Day, started their own label and dropped a new album, Dangerous. Sisterhood is their secret weapon. SONYA BENNETT-BRANDT

INFO: Thu, 7pm, 924 Gilman, 924 Gilman St., Berkeley. $12–$15. 510.524.8180.

FRIDAY, APRIL 25

EMO

TRSH 

Midwest emo is old enough to take ibuprofen before shows, but it’s only getting better. Just look to Springfield, Missouri, band TRSH for proof. These guys dropped their latest EP, Straw Chairs, last year and just printed their first full-length, Soporific, on multicolored vinyl. That’s 39 minutes and 58 seconds of heartfelt, raw chaos filled with love, heartbreak and pure emotion. Plus, it’s always proper to support a venue like the Stay Gold Deli, which hosts DIY shows like those thrown by Hard Times Shows. Make sure to get there early to see openers Summerbruise, Dear MaryAnne and Doan. MAT WEIR

INFO: Fri, 7pm, Stay Gold Deli, 2635 San Pablo Ave., Oakland. $15. 510.350.8729.

FRIDAY, APRIL 25

DANCE

GRUPO CORPO

The captivating world of Brazil arrives with two works from Grupo Corpo, a dance company known for its blend of folk and contemporary, classical ballet, gymnast-worthy feats and astute musicality. The choreography in 21 rides on the propulsive rhythms of a score by Marco Antônio Guimarães and Brazilian instrumental group Uakti. The Bay Area premiere of Gira (“Spin”) cozies up with the Afro-Brazilian religions of Candomblé and Umbanda. It features ritual chanting, blistering saxophone, bird calls, animal cries and other awesome, indescribable sounds. A note for audiences: The performance of Gira includes nudity. Performances are on Friday and Saturday. LOU FANCHER

INFO: Fri, 8 pm, Cal Performances, 101 Zellerbach Hall, Berkeley. $38+. 510.642.9988.

SATURDAY, APRIL 26

INDIE-POP

VALGUR

Valgur are a musical duo from Oaxaca that creates a unique synth-pop sound built out of magical realism and science-fiction aesthetics. Siblings Elizabeth and Hugo Valdivieso fuse their Zapotec heritage with modern, otherworldly rhythms, crafting immersive, dreamlike soundscapes. Rich in worldbuilding, partially born out of childhoods in the church, their performances unfold into vivid narratives where cultural identity and fantastical realms intertwine into cosmic struggles between good and evil. Never underestimate sibling synchronicity. – SBB

INFO: Sat, 8pm, Elbo Room, 311 Broadway, Oakland. $16–$20. 510.350.8116

SATURDAY, APRIL 26

THEATER

‘CRUMBS FROM THE TABLE OF JOY’

The story begins after the death of the Crumb family matriarch. The family uproots itself and makes a move from Pensacola to Brooklyn. It’s 1950s America, and narrator Ernestine, the daughter of the deceased, leads the way as the family navigates the era’s race, sex, politics, religion and post-war sentiment. Count on characters facing conflict with courage, pettiness, pathos, intelligence, avoidance, confrontation and catch-your-breath humor. Trust the Aurora’s brilliant actors and production values that add to a play’s purpose. Post-show discussions are a terrific launch for continued conversations at home and in the community. – LF

INFO: Starts Sat, Aurora Theatre, 2081 Addison St., Berkeley. $38. 510.843.4822.

MONDAY, APRIL 28

ROCK

VICTOR KRUMMENACHER & HIS FLYING CIRCUS

As a founding member of Camper Van Beethoven, bass/guitar player Victor Krummenacher has ridden the forefront of indie music for the last two decades. Nobody’s one-trick pony, he has also played with CVB spin-off Monks of Doom and psyche quintet the Third Mind featuring Dave Alvin, Jesse Sykes and others, but has also appeared with M. Ward, Cracker and more. This acoustic presentation will open with a live recording of Coffee with Krummenacher, the podcast where Victor is never informed which subject will be discussed. Past episodes featured stories about the time Camper Van Beethoven opened for Tiny Tim, touring with R.E.M. and plenty of others. – MW

INFO: Mon, 8pm, Ivy Room, 860 San Pablo Ave., Albany. $21–$23. 510.526.5888.

TUESDAY, APRIL 29

AUTHOR TALK

THE WORLD AS IT COULD BE

Literary luminary Nnedi Okorafor joins Bay Area writers Aida Ndiaye and Kemi Ashing-Giwa in conversation at The California Ballroom. Okorafor is a New York Times bestselling novelist, specializing in science fiction and fantasy. Currently on an international tour for her latest novel, Death of an Author, she draws on her Nigerian and American heritage to craft mesmerizing tales across many genres and media. In a 2019 essay on her blog, Okorafor identified her style as africanfuturism and africanjujuism, terms she uses instead of Afrofuturism to stress that her work “does not privilege or center the West.” – AM

INFO: Tue, 7pm, The California Ballroom, 1736 Franklin St., Oakland. $39. 510.927.4068.

WEDNESDAY, APRIL 30

HIP-HOP

ANA TIJOUX

Chilean hip-hop star Ana Tijoux is arguably the most important rapper working in Spanish, but her dexterous flow and conscious messages have given her staying power. Her raps are laced with feminist themes, pronouncements and support for leftist causes, but one needn’t subscribe to the entire manifesto to thrill to her expert verse. Tijoux hits Oakland, her only Bay Area date of the Vida Tour, which started with a recent sold-out show at New York’s Lincoln Center. The set list includes pieces from her new EP, Serpiente de madera. – AG

INFO: Wed, 8pm, The New Parish, 1743 San Pablo Ave., Oakland. $45. 510.227.8177.

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