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Comedian and Writer W. Kamau Bell Visits OSA

W. Kamau Bell, a talented Black comedian, writer, and filmmaker, visited Oakland School for the Arts on Thursday April 27. His Q & A with students from various pathways was intended to inspire them as well as show them the many brave, innovative things they can achieve with their art.

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W. Kamau Bell. Santa Clara University photo.
W. Kamau Bell. Santa Clara University photo.

By Daisha Williams
Post News Group Intern

W. Kamau Bell, a talented Black comedian, writer, and filmmaker, visited Oakland School for the Arts on Thursday April 27. His Q & A with students from various pathways was intended to inspire them as well as show them the many brave, innovative things they can achieve with their art.

The host of the CNN show “United Shades of America,” was born in 1973 in Palo Alto, raised in Boston, and Chicago and attended the University of Pennsylvania before dropping out.

Returning to California, he established himself as a comedian, doing small shows in bars. He says that one of his biggest inspirations early on was Dick Gregory.

(Gregory was a popular comedian during the 1950s and ‘60s who later stopped comedy and pursued activism more heavily.)

Since then, he’s been very busy: It’s amazing how much Bell has achieved as a Black man in America.

Since his start, Bell has done countless things with his career, from comedy specials to a recent documentary about the lives of mixed-race kids in the Bay Area and even writing an autobiography in 2017 called “The Awkward Thoughts of W. Kamau Bell: Tales of a 6’4, African American, Heterosexual, Cisgender, Left-Leaning, Asthmatic, Black and Proud Blerd, Mama’s Boy, Dad, and Stand-Up Comedian.”

According to Wikipedia, he released his first album in 2007 and in 2012 the S.F. Weekly and the San Francisco Bay Guardian newspapers both named him San Francisco’s best comedian.

When asked by OSA students if he thinks it’d have been easier for him to get where he is today if he was a white man he responded, “America is set up for white men. I can’t say what that would’ve meant for my career. . . But certainly, there are examples of people around me where white men have gotten through the door where we were like “that guy’s not even that [funny].”

He talked about his show several times during the Q & A, including one particularly shocking and risky episode when he visited the Ku Klux Klan in 2016. He was able to do something that no one had done before, at least on television. But still, if he could go back, he definitely wouldn’t do it the same way.

He said he felt extremely unsafe in that situation, made worse by the fact that the majority of his staff was white. This experience is what led him to demand having more Black and Brown people on the staff: He would’ve left the show if that accommodation wasn’t made.

The episode with the KKK wasn’t the only circumstance of Bell talking to racists. When asked how he handles these situations he revealed a variety of methods. Bell says he resists the urge to argue, saying that sometimes in an interview the best thing you can do is to just let them talk.

It’s hard, he admits, and that sometimes he shuts down, can’t let himself take in what is being said. This is why he needs to have people on set with him who can firsthand experience the weight of what he is experiencing.

Some might wonder why Bell puts himself through this. However, the answer is simple, he wants to use art as a way to make the world more aware of the Black experience, of the trials and triumphs of a group of people that have been unsung.

Bell says that every time he begins a new project, he asks himself, “Is this the project that dismantles white supremacy?”

The answer is often no, but it’s an admirable thing to strive for.

Wikipedia contributed to this report.

 

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Activism

OP-ED: AB 1349 Puts Corporate Power Over Community

Since Ticketmaster and Live Nation merged in 2010, ticket prices have jumped more than 150 percent. Activities that once fit a family’s budget now take significant disposable income that most working families simply don’t have. The problem is compounded by a system that has tilted access toward the wealthy and white-collar workers. If you have a fancy credit card, you get “presale access,” and if you work in an office instead of a warehouse, you might be able to wait in an online queue to buy a ticket. Access now means privilege.

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Bishop Joseph Simmons, Senior Pastor, Greater St. Paul Baptist Church, Oakland
Bishop Joseph Simmons, Senior Pastor, Greater St. Paul Baptist Church, Oakland

By Bishop Joseph Simmons, Senior Pastor, Greater St. Paul Baptist Church, Oakland

As a pastor, I believe in the power that a sense of community can have on improving people’s lives. Live events are one of the few places where people from different backgrounds and ages can share the same space and experience – where construction workers sit next to lawyers at a concert, and teenagers enjoy a basketball game with their grandparents. Yet, over the past decade, I’ve witnessed these experiences – the concerts, games, and cultural events where we gather – become increasingly unaffordable, and it is a shame.

These moments of connection matter as they form part of the fabric that holds communities together. But that fabric is fraying because of Ticketmaster/Live Nation’s unchecked control over access to live events. Unfortunately, AB 1349 would only further entrench their corporate power over our spaces.

Since Ticketmaster and Live Nation merged in 2010, ticket prices have jumped more than 150 percent. Activities that once fit a family’s budget now take significant disposable income that most working families simply don’t have. The problem is compounded by a system that has tilted access toward the wealthy and white-collar workers. If you have a fancy credit card, you get “presale access,” and if you work in an office instead of a warehouse, you might be able to wait in an online queue to buy a ticket. Access now means privilege.

Power over live events is concentrated in a single corporate entity, and this regime operates without transparency or accountability – much like a dictator. Ticketmaster controls 80 percent of first-sale tickets and nearly a third of resale tickets, but they still want more. More power, more control for Ticketmaster means higher prices and less access for consumers. It’s the agenda they are pushing nationally, with the help of former Trump political operatives, who are quietly trying to undo the antitrust lawsuit launched against Ticketmaster/Live Nation under President Biden’s DOJ.

That’s why I’m deeply concerned about AB 1349 in its current form. Rather than reining in Ticketmaster’s power, the bill risks strengthening it, aligning with Trump. AB 1349 gives Ticketmaster the ability to control a consumer’s ticket forever by granting Ticketmaster’s regime new powers in state law to prevent consumers from reselling or giving away their tickets. It also creates new pathways for Ticketmaster to discriminate and retaliate against consumers who choose to shop around for the best service and fees on resale platforms that aren’t yet controlled by Ticketmaster. These provisions are anti-consumer and anti-democratic.

California has an opportunity to stand with consumers, to demand transparency, and to restore genuine competition in this industry. But that requires legislation developed with input from the community and faith leaders, not proposals backed by the very company causing the harm.

Will our laws reflect fairness, inclusion, and accountability? Or will we let corporate interests tighten their grip on spaces that should belong to everyone? I, for one, support the former and encourage the California Legislature to reject AB 1349 outright or amend it to remove any provisions that expand Ticketmaster’s control. I also urge community members to contact their representatives and advocate for accessible, inclusive live events for all Californians. Let’s work together to ensure these gathering spaces remain open and welcoming to everyone, regardless of income or background.

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Activism

Oakland Post: Week of December 31, 2025 – January 6, 2026

The printed Weekly Edition of the Oakland Post: Week of – December 31, 2025 – January 6, 2026

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Activism

Big God Ministry Gives Away Toys in Marin City

Pastor Hall also gave a message of encouragement to the crowd, thanking Jesus for the “best year of their lives.” He asked each of the children what they wanted to be when they grow up.

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From top left: Pastor David Hall asking the children what they want to be when they grow up. Worship team Jake Monaghan, Ruby Friedman, and Keri Carpenter. Children lining up to receive their presents. Photos by Godfrey Lee.
From top left: Pastor David Hall asking the children what they want to be when they grow up. Worship team Jake Monaghan, Ruby Friedman, and Keri Carpenter. Children lining up to receive their presents. Photos by Godfrey Lee.

By Godfrey Lee

Big God Ministries, pastored by David Hall, gave toys to the children in Marin City on Monday, Dec. 15, on the lawn near the corner of Drake Avenue and Donahue Street.

Pastor Hall also gave a message of encouragement to the crowd, thanking Jesus for the “best year of their lives.” He asked each of the children what they wanted to be when they grew up.

Around 75 parents and children were there to receive the presents, which consisted mainly of Gideon Bibles, Cat in the Hat pillows, Barbie dolls, Tonka trucks, and Lego building sets.

A half dozen volunteers from the Big God Ministry, including Donnie Roary, helped to set up the tables for the toy giveaway. The worship music was sung by Ruby Friedman, Keri Carpenter, and Jake Monaghan, who also played the accordion.

Big God Ministries meets on Sundays at 10 a.m. at the Mill Valley Community Center, 180 Camino Alto, Mill Valley, CA Their phone number is (415) 797-2567.

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