This page is transcribed from our audio documentation for this project.
Artist Charles Washington spoke on each of his sculptures with questions from deniz dee!colonize lopez* 

1. Ancestor Mask 

Shape @ Live Oak 
3815 Live Oak, 77004
First we have the “Ancestor Mask”.  Is that the proper name?
Yes it is the proper name.  The name actually reflects how I felt about something that happened to me, during that time period.  I decided to call it Ancestor Mask, because I feel like that is the beginning of me learning how to use my skill and ability to impact other people by using my art.  So that was the beginning of really understanding it. 

Some people use art as an emotional outlet.  Would you say that’s true for you?
I always used my art as a way of reflecting.  The piece “Ancestors Mask” was one of those reflective pieces.  It gave me an understanding on how I can appreciate the release of feelings.  It also showed me that I could hold onto memories through art.   I had a very good friend named  Jackie Lillard.  We used to hang out together with a group of other creative artists.  She was a poet.   Jackie Lillard was her government name. But she also went by her African name.   I didn’t know that she was actually suffering from an incurable disease and she suddenly passed away.  When people very close to you start passing, you start realizing that there’s more to you than just existing.  There is more value in the people around you and how they exist.  Ancestors Mask was my way of giving her energy back to a community that would always remember her.

Do you remember Jackie LIllard’s African name? I know you know it.
Yes I know it.  I’ll give you some trivia.  Actually, a room (at the SHAPE CENTER) was created in her name.  That will all be on the plaque, so you  can understand the significance of that piece.  

What year did you create Ancestor Mask?  
It was back in the 90’s.  At that time, I was actually becoming friends and hanging out with those guys from the Ensemble Theater.  Matter of fact George Hawkins was so interesting because he used to have all the costumes in the hearse.  All the actors used to gather around the hearse before they went into the place to perform.  The women used to jump inside the hearse to change.  It was just crazy! It put me in the mindset of being in New York.    So, I gravitated towards that energy.  The Ensemble Theater  was one of the first places that I showed my artwork.  It was on Tuam St. (Houston) and that was the beginning of the Ensemble Theater. I remember showing my work off a ledge at my first show there.  

Where can we find this sculpture? 
Ancestors Mask was installed  right in front of the SHAPE Center.  Jackie was an active community member.  She was a writer and a poet.  Jackie was someone that people respected and admired in the community.    And there something new happened for me.   I saw how that piece  affected other people.  It brought back memories of Jackie, but also gave people peace. 

What can you say about the actual materials that you used? 
Well, that sculpture is actually made out of metal.   I got to experience learning how to use metal.  Not just as sculpture but just to know how to use it.  A friend of mine owned a welding shop.  His name is James Contreras.   He has been a good friend for over 30 years.  But he had a location where he made furniture.  I came up with the idea to make the sculpture and he assisted me.  This was the first piece that we collaborated on.   He actually helped hand cut it.   It is a little more rigid and not as precise as the others because it was hand done.  And that was my first “ public art” .  I didn’t realize the impact.  But I knew I was ahead of my time when I was creating those pieces.  Everything was done deliberately.   The process was created  to leave expressions, make a statement,  and also to do public art. 

2. The Blanket

Houston Area Urban League
1301 Texas St, 77002
Let's talk about the Blanket.
“The Blanket” is the epitome of Charles Washington.  This piece gets me right in the heart.   It was created at a time when I was battling with the decision to leave my career and be a full time artist.  That moment was defining.   Going through the process of pursuing my goals, with my family was difficult.  I did not have a mentor.  There was no guidance or support for me.  Then my money ran out, right before the holidays.   Because of that, I was kicked out of an apartment.   In those times apartments did not have the proper rules to protect the tenants.  It was all about them taking your money or partnering with a storage unit.  They knew the people couldn't afford rent.  So they would take ownership of storage units.  Then tax people for storage when they were evicted.  Those actions left me and my family out on the streets for a couple of months.
Please talk about some of the experiences you had during that time?
My experiences in those  months were a once in a lifetime.  It was a blessing.  But looking back at it, my mind is blown.  During the holiday time we even ended up staying in a classroom.  That was interesting. To be able to bathe in a classroom was a humbling experience.   A lot of family bonding happened during this journey. That's how we made it through the holidays.  
So, I ended up getting a job at the Church as a janitor.  Reverend Long was the minister at the church.  My job was to clean up the church and school during the day.  But on Saturday night, I needed to put out all the chairs, sweep the floors, and have everything ready for 7:00 AM Sunday service.  I remember one night, at 3:00 am, I  laid out on the steps that led up to the stage.  I reflected on my current situation and my journey so far.  I thought of how I could  keep this experience in mind and never forget it.  Then “The Blanket” came to mind.   That's how the Blanket was first created. 

Tell me about what materials you used and why.
“The Blanket'' really started my knack for recycling and up-cycling.   During that time, I didn’t have the materials to express myself through art.  So, I used whatever was in my environment.  One of the things we had, while we were homeless, was a blanket.  It housed us. But it also represented unity.  I chose to make the image with no face.  I wanted people to know that “The Blanket'' could be anyone.   I found a coat rack and clothing we had worn.  I ended up buying some clay.  The clay is what I used for the face.  I draped and dripped the clothing in the paint and then started forming the mold.   When it was done, I had created three individuals.  The expressions on their faces reflected the energy that I had just come out of.  It wasn’t something I had to think about. It was just something that was naturally coming out.  

When did you create “The Blanket”?
That was 41 years ago.    Without that piece, I would not be in the position I am in today.   So, I respect that piece to the utmost.  But the piece was not made or created for just me.  It was created for people to understand and have compassion for individuals who go through unfortunate circumstances.   It made me more compassionate. 

Was there a time where you wished to separate yourself from the stigma of being homeless?
​As I moved further away from that situation, there were moments in my life when I wanted to reject that experience.  I didn’t want to be known as “the homeless guy”.  Every time I was asked to do an interview the topic  was about being homeless. They would say “Oh there’s the guy that was homeless''.  I was astounded that the conversation was not about my creativity.   I didn't  want to be known as the guy that came out of poverty and now he is successful.     I wanted to get out of that mindset, so that people would not think of me in that way.  I just rejected that for a while, until I really understood the purpose of that piece.   I realized it was a blessing to be uncomfortable because that pushes you to make changes.  I saw the fear in the eyes of politicians and community leaders, who looked at “The Blanket”.  I thought what could that be?  Now I understand. That fear is not the fear of the piece, but the fear of the possibility that that could be them.    
“The Blanket” made me feel that I must continue my role as the ambassador for what’s been given to me.   I didn’t ask for that, but now I have to embrace it.  I see how that sculpture has blessed me. I know  I am able to create anything.  “The Blanket '' is an  iconic piece.  It teaches an artistic mind to give back in a creative way.  It teaches people to preserve their experiences and tell the story of their existence as a human being on this planet.

3. Cuney Homes Bike Rack 

Cuney Homes 
3260 Truxillo St, 77004
Charles, tell me a bit about the “Cuney Homes Bike Rack”
The bike rack was an idea I had a while back.  I was motivated to create the design, but also make it purposeful and functional art.   At that time, I was on the board of Midtown.  I will never forget, we were in a meeting and they were talking about community bike racks.  So I volunteered to design one.   I knew I could  get artists to create bike racks and have them all over the city.   I was excited about the project and was pushing for it, not knowing the politics behind my position.   As a board member you can suggest things, but you cannot physically create these things.  There was my issue.  But the board was  excited about the project.  Then all of a sudden, another organization came into the conversation.   They had these bikes that you push to the side, you put money in it, and you ride it around.  They chose that instead of my design.  The midtown board used a different pattern so they could monetize the project.    

So after that happened, what did you do then? 
So, I continued to  pursue my goals in a different way.  I thought of having bike racks  in under served areas.  Young artists in the community were inspired to collaborate in the creation of the bike rack.  So, when you look at those bike racks, you see abstract designs.  It looks like a part of the community.  That was very important to me.  

What is special about the location?
The Cuney Homes Bike Rack  was one of the first bike racks in Houston.  I felt that the Cuney Homes was the best place to have it.   Cuney Homes is an area that needs more energy and respect for the culture and history.   I’m proud to have it there.  I see there are a lot of opportunities to have more sculptures throughout the community.    

Who did you partner with on this project? 
As a matter of fact, one of the people who introduced me to this project was Michelle Barnes with the Community Artists Collective.  That is where we put the bike racks together and she was the fiduciary.  I created the one at Cuney Homes.  But that is one of two.  There is another bike rack on the north-side of Houston.   The Houston Public Housing Authority partnered with me to create that one.  It was exciting to have your work supported by the city at that level.   That's how we got that project completed. 

You have made other functional art bike racks.  I think it's notable to talk about this as well.  One of those series is called “Black Man”.   It looks like a man standing with his hands on his hips.   Can you talk about that?
 Well, in this bike rack series, there are themes of  function, education, and defiance.  Also this series is a reflection of me.  I have a habit of sitting back and looking at my artwork with my hands on my hips.  That one moment, I was the art piece.  I was myself, standing there with my hands on my hips. My  head was facing north.  All the different directions, colors, and energy was swirling around me.  So, I’m capturing the process of  thinking and creation.   

So what energy do you want people to take with them after viewing this piece?
So, when you look at that piece, it’s a human being full of energy and mental power.  The metal is showing the resilience of a black man and the resilience of a culture.   I utilized an up-cycled hitch to be a bike rake.  Back in the day, hitches were installed in front of the houses to tie up a horse.  The hitch  has been repurposed into a bicycle rack.  But in reality it’s defining a black man and his culture.  

4. STEM Robot & Little Library

C-Stem Inc.
3226 Alabama St, 77004
 We are moving onto the STEM Robot & Little Library.   
I’m excited about that piece, because of how it originated.  The STEM Robot and the Little library is one of my favorites because of the impact it has on that area.  I remember Dr. Flowers and her husband had an event at the POP UP Place on Almeda.  Some people from SHAPE were there as well.  She came in and looked at my work and was impressed by The Pop Up Place.  Within a week she came back to meet with me.  She told me about her work with Yates and that they were doing robots.  She had some parts in the back yard and asked if I could do something similar in her space.  We talked about a robot library for books.  I gave her a design for the box of the robot and a relaxing bench.   The library was very important to the community.   It was a spot where young people could have tranquility and read.  It is also where people could share books as well.  It was a beautiful scene. Kids and individuals in the community are transported to a whole different world.  People can sit on the island and be creative. They can let their mind go to another level.  That made me feel good.  

What do you wish people felt or experienced when visiting the library?
It's like when someone reads a good book. As we open that page up, our mind shifts and the imagination opens up.  When people sit in the library, I imagine they can go anywhere.  The journey starts from opening the book and reading a page.  For me I wish they feel pleasure and wonder at the capacity of their own mind.  That’s what that little library does. 

The Robot has a crown on top. Was that already there or did you add it? 
No, the robot did not have a crown or a face.  It didn’t have anything.  When I started on it, the robot was just a box with some hands.  They weren’t even hands.  They looked like  grab claws.  In my opinion, it seemed to be reaching to the sky.  I imagined it as a King, with a powerful energy.  The robot had a great knowledge in his body which is where the books were.  It was also giving and receiving energy.  It depends on how you look at it.   The knowledge is received through the robot hands, then given to the books, and from the books given to the people.  That’s the way I was thinking.   For some reason I wrapped copper all around it.  I felt that was needed to generate the power.  I was thinking on all different levels.  You’re talking about Egyptian or even futuristic. But it all equals one thing.  The energy that has no time on it.  I want to see five years from now how others view that piece.  
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This is probably a good time to talk about color schemes.  By this point in the tour, people are witnessing patterns that are recognizable as Charles Washington’s art.   You see patterns that look rhythmic or jazzy in your work.  Can you talk a bit about what (if any) connection between those colors and patterns?
​This brings it back to the word ”style”.  What makes Charles Washington’s style?  It all comes back to DNA, research, and natural movements.  All of these elements are within my art.  Firstly,  I’m attracted to bright colors.  That might be unconsciously or subconsciously.  Secondly I continuously research certain colors and how they affect people.  I even pay attention to color’s effects on animals and everything in the environment.  Color has a code.   There are certain colors that an animal sees and runs away from it. There are some colors animals see and they embrace it.  That goes with a natural color code. I tapped that.  I could create things to make someone take a trip with the colors.  Then you have the movement.  The movement will guide them to different stages. There are certain numbers in my work.  That was not planned.  I’m one that will let my inner self take control and see where it takes me.  Thus far the journey has been successful.  I don’t put limitations on my ability to create.  I create whatever I want.  So the color, patterns, and movement help create my style.   

5. Quilt Peace 

Community Artists' Collective 
4101 San Jacinto St Suite 116,  77004
“Quilt Peace”  is the name of a mobile sculpture that sits outside of Community Artist Collective's current location.  
I feel honored to associate myself with Michelle Barnes and the Collective.  One of her artists actually opened up Blackmans Gallery, which was at the Ensemble Theater.  She was the person I collaborated with for my first art showing in Houston.   It was interesting how we first met.  She was actually in front of the Ensemble building sweeping.  I walked by and asked what was going on?  She said she was going to open up. At that time, I had a studio  located on La Branch street near the Kumba house.  The Kumba House is now called the Midtown Theater.   So I invited her over to my studio. She came within 30 minutes. 

Michelle arrived in an old BMW.  She came up the stairs and asked if I wanted to be a part of the Collective.  From that point on, we became very good friends.  We are still great friends today.   I was also in one of her first shows years ago.  She really showed me how you need to be committed to the community and your work to do the things you want.   Even though you have your ups and downs you want to keep true to who you are.  That's the way you will have great results.  Today Michelle Barnes is still a prominent figure in the community.   I am very honored to be part of her journey.  

In saying that, Michelle was a member of the Quilt organization.  Every year they have an event in Houston.  That year Michelle wanted to make an impact on the event.  She asked me if I knew anyone who could work metal.  It so happened that I did.   So we collaborated on the design.  My friend and business associate, James Casteras, also molded the metal and installed it in front of the Collective.  It was beautiful.  This is a special story because I imagine some organizations did not want that piece up there.  Two days after we installed it, the bolts were taken out and it was laying down on the side of the street.   It was interesting how we all reacted. Michelle, James, and I were shocked.  Then we were angry. Then we were defiant.  James rallied his team within an hour.  He declared that they would reinstall it so no one could ever take it down.   Today the sculpture is still there.    That quilt is a depiction of people holding their community together.   It's about people being together, culturally, and having an understanding that we must resist negativity.  We must not be swayed by people that feel uncomfortable if something is not  in line with their own perceptions.  That piece is always going to have its iconic impression.  That’s why I’m very proud to be a part of that project.  

 Talk about the other artists that collaborated on that that project.  
One of the people is Michelle Barnes.   There was also Gail Mabani.  She is the co-founder of the Harambee Art Gallery.  She was the general manager and managed the project.  I was one of the designers that painted.  The one that constructed was James Contreras (Adventure Playgrounds).

 Can you recall when the Quilt was taken down?  I actually worked there at the time
Well let me throw the question back to you.  What was your impression?  How did you feel when that happened?

It got my blood pumping.  We were questioned, who could have done this?  You needed certain materials and connections, in the city, to take this down.  I also remember the community that lived nearby. There is a high-end luxury apartment complex across the street. People started to call the Collective to find out why it was taken down.  They enjoyed it so much.   To some of them it introduced them to the Collective.  They  would have not known that there was an arts and culture scene at that corner if it had not been for that very bright mobile.   
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Wow, so the thing about when it was taken down; It was taken down so neatly.  So if anyone was actually trying to destroy it they would have thrown it around.  But it was taken down and laid down.  It was like they were checking you.   They wanted to let us know that we were not welcomed here.  

6. Pyramid

Mabrie Memorial Mortuary
5000 Almeda Rd,  77004
We are going to talk about “The Pyramid”.
This project is a very powerful piece because of what it represented.   One Mabrie Memorial was in the process of building something special in the community.  But also, they wanted something special outside. They wanted to have an impact on history through  artwork.  It was one of the first mortuaries where you can see artwork as opposed to only memorials.  I was one of the first artists to have work inside.  
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One of the architects was named  Simon.  He was a great guy, but he’s passed on.  Simon asked me to design something to place outside.   So, I came up with the water fountain.  I really wanted to share the idea of culture,  from an African diaspora perspective. I see the pyramid as the knowledge that I accumulated while I was on this planet. The pyramid also represents this planet.   I use that pyramid to symbolize how I came here, but also the manner in which I leave here (existence).   

Talk about the water a bit more.  It's actually a fountain and the water runs through.  What were the mechanics of that and what does it mean for the water to run through that away?
 The trickling of the water and the movement all plays a whole thing as far as our reality and where we are at.  Then you go to the next level and the next level and next level.  Even when you look at a pyramid and you breakdown your body, those three cubes are all over your body. When you look at your hair follicles, around it are cubed shapes.   So, it all breaks it down into the way I’m thinking.   Subconsciously I’m looking at the art, but I’m also looking at the science of it.   Well, it goes back to how we see life.  A lot of things we don’t get an opportunity to read about. But in this art piece we have three elements water, land and sky.   It all goes back to those three elements.  The pyramid also has three sides.  Everything breaks itself back down to that.  How do you maximize the use of those elements, putting them together?  So those elements were put together and that’s what I got.    Very simple.  But how can you express it in a creative way? 

Then you have two forms. One is a man, and one is a woman.  They are facing opposite of each other.   In their hand they have a globe.  They are looking into this globe.  This globe represents another life, but also looking into where they are at right now.   It sits on top of the pyramid.  What it's saying is a continuation of life.  When we leave here we are going into another life that is in its infancy.  When you continue to look at that piece, there are multiple dimensions to infinity.

In the making of this entire project, the Mabrie project stands out.  They actually contacted you a few years ago with the interest of redoing it.  So, when was this originally done and what was the conversation around re-imagining the piece later?
The piece was done in ’95.  At the time there was zero public art .The first piece I made was in front of the architectural building .  They saw it and that’s how they got the idea of the piece…over there..  That piece is iconic because it's one of the oldest sculptures in Third Ward. I kept my mind focused on creating these sculptures to be able to preserve history.  Now it has come to light.   I saw this some time ago, and now I can see it even more so. Its great to have a portfolio filled with all this information.   It is not based on Charles Washington.  I’m  just a tool to expose the greatness that is in Third Ward.  That location is just one of them.  

7. Lawson Academy Spark Park

The Lawson Academy 
5052 Scott St, 77004
We’re talking about the Lawson Academy Spark Park.
The relationship with Lawson goes way back.  The Lawson’s were part of the Ensemble Theater.   Mrs. Lawson was on the board.  She was the director and very close with Hawkins, who founded the Ensemble Theater.  When Mr. Hawkins passed away, she promised to make his vision come true.  Mrs. Lawson raised money to make that happen.  I have total respect for her.  One time she approached me and asked if I could make something for the event.  So,  I created silk scarfs for everyone.   Whoever has them now, I would love to see what they look like.  I also created a poster.  It was the first poster for the Ensemble Theater.   Now look at the Ensemble Theater.  It's one of the largest African American theaters on this side of the country. The original poster was given to those guys.  So that was the beginning of my relationships in midtown and working with the Ensemble Theater. 

There is a trail that holds several of your benches.   There are two spaces that have totem poles.  You painted the basketball courts flooring and you collaborated on another basketball related game.
Back to the Lawson’s.  They were a part of  our community.   Reverend Lawson's daughters have done great things in the  church as well.    The daughters  wanted something very special in the back of Lawson Academy.  I was invited to visit and thought it was a great space.    I was excited about creating the  benches and pieces of artwork.  There were so many things going on back there.  So I agreed to make special artworks for the space. My installations are about creating  the benches, totem poles, and the rocket. Everything in that space is symbolic to take use to a different level.  For example, the rocket is  not just a rocket.  But it is also letting people know about the numbers and how they are able to soar.    

It's important to note that the artwork also collaborates with Spark Park. I know the founder of Spark Park, Mrs. Eleanor Tensely.  She was a very great friend of mine.  I actually did one of their first parks in Houston.   Her daughter runs it now.   So, it was meant for me to create these pieces.    I just kept creating.  In the end, I didn't realize that I had done the most public art (as far as sculptures) in Third Ward.  I'm still building.   I’m excited about that.  Above all, I want people to be educated as to why I created the artwork and impact.  More artists need to understand that culture is how we can give back to the community.   By listening to what the community wants and knowing how to make progress. 

You had a chance  to visit the Lawson Academy during recess.   You got to interact with some of the students and the art.  What were the reactions?
One of the most awesome things is to have the students interact and observe the art.  They  take in all the colors.  They did not know me as a person, but only the energy in that moment.  You know I'm a basketball fanatic at times and an elder man.  The students don't see the child in me, until they see what I can do.   It brings curiosity.  But it also makes them see beyond where they are at.  To me that's important.  To be that age and to see someone your grandpa’s age being active changes their minds.  It lets them know that they could grow beyond people's perceptions.   Also I like to become those child moments. It's important.  It gives me more energy. It is always good to have those child-like moments in life. 

You also collaborated with Adventure Playground James Contreras.   It was exciting because you were included in a Spark Park Calendar.  Was it in 2019?
Yes! It was 2019 exactly.  I was excited about that.  It was a great opportunity to be one of the first artists to be featured on the calendar.  It was even better when I was asked to come back a second time..  Things like that  make my work more relevant to the community. 

8. PUP Sculptural Garden

The Pop Up Place 
4306 Almeda Rd, 77004
We are talking about The Pop Up Place Sculptural Garden.
The Pop-up Place is exciting to me. The concept existed when I was a kid living in New Jersey. During the summer, I would visit New York and stay with my uncle in the Bronx.  I would play basketball and hang out with the guys in the neighborhood. In the Bronx, there were many abandoned buildings.  We made use of these spaces.  Someone would get a couple of extension cords, chairs, and a boombox.   With just that, we had a party.  That was exciting. 

Was the community open to the pop up concept?
I brought that concept to Houston and created my first sculptural garden.  I used to create a sculpture and then put it in the abandoned space. No one owned the building and no one came to move them.   Then I remember, when I moved into the Shape Center.  There was so much going on.  I was transitioning from one place or the other.  A gentleman named  Dr. V came over to my studio.  He mentioned he had a location and invited me to come by.   It was interesting because Dr. V was a creative man.  When I visited I saw the building was still under construction. There were no stairs.  You had to go up a rope to get to the 2nd floor.  In my mind I literally thought this guy is nuts.   Bluntly I told him, if he rearranged the space I would consider moving in.  

In about a week he invited me back. The gentlemen had moved containers around and squared out the space. Now, I had a fortress to make sure that the building was protected.  I tried to figure out how he did it.  He was a genius.  Dr. V went back to Egyptian techniques.  He used boulders to move the things around.  It was amazing.  So I painted the ground as a chess board.  That motivated me to keep my studio there, for a period of time.  That was my official first pop up place for a sculptural garden here in Houston.  

Talk about the location of the current Pop Up Place on the historic Almeda
Eventually I moved on from that original space. But that idea of the Pop Up never left me.   It took five years to fully convert a burnt down building lot on Almeda to the current Pop Up Place.  Then, I partnered with my son Charles Jr.  to take The Pop Up Place to the next level.  Now I think we are prepared to go into the future. We are focused on the growing community and how we can be a resource.  
I never forgot the moment when Walter Stricklen and I sat down. He showed me an old photograph of Almeda.  He said someday we want to show Almeda rising.  We wanted to have an era when Almeda is thriving.  The theme was called “Almeda Rising”.  I never forgot that.  Now we are part of the vision and the area is still growing. The Turkey Leg Hut didn't even exist then.  Now you've got things going on all around you.  If you consistently stay at things and keep on the plan, the vision will happen.  The Pop UP Place is on the cusp of its potential. The sculpture garden is going to impact the community and all of Houston.

What new installations can we see at The Pop Up Place?
All Real Radio is one of our partners and close friends.  We collaborated on a project called the Jewels of Houston.  That entails a late model Lincoln that was owned by an iconic figure in Houston Jewel Brown.  It's going to tell the story about Jewel Brown and other icons in Houston.  These installations will educate people about the past and present and the future of the creative genius coming out of Houston.  I’m excited about this team that put this project together.  It's going to be a part of an even bigger project.  We are going to have cultural projects to be shown around the city and around the country.

Talk about how the Pop Up place looks and the particular features that make it very unique.
It depends on what time you come in.  I prefer to visit in the morning.  I come in and put the music on.  I love jazz and the birds in the background.  The artificial grass makes it look like a fresh cut.  When you close the doors all the sound is cut off.  I like to sit on the benches, which are up-cycled and donated from Adventure playgrounds. They are one of our great clients who sometimes give us their recycled pieces.  To the left there is a beautiful tree standing in the far corner.  When I first got the location, I cleared things out.  I chopped that tree down not once but twice.   I was going for the third time.  Then I remembered that tree was me.  It was resilient.  It was not going to quit.   I saluted it and we are still thriving .  That tree is an example of what I’m striving for and what that place is striving for. 

<continued>
The pandemic was an interesting time.  We saw so many venues and businesses close.  The Pop Up Place existed through it and actually got even closer to its goal.  What can you say about that?
It's like the saying goes…we needed to “go out and smell the roses” while we’re here.  The pandemic was eliminating people.  It was so tragic.  Millions of people left too early and became ancestors.  It made us appreciate life more. It made us think more.  It made us actually get outside and say this is OK.  I don't want to go back inside.  That was a great impact. It made us get back to nature.  I now appreciate the value of not being so careless.  It changed people. Being outside and being back with nature is the direction we are all going right now. 
* Poet, activist/co-founder of All Real Radio LLC, a 24/7 soul, hip hop, R&B, and talk radio station based out of 3rd Ward - Houston, broadcasting to the World.