Chapter One: The Birth of (black Piece)

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Chapter One: The Birth of (black Piece)

It all started with a part-time job—one I didn’t expect would spark a movement. I had just accepted a part-time position as the IT manager for the San Antonio Philharmonic, housed on the west side of the city. Working alongside the former District 1 councilman, Roberto Treviño, I was excited to dive into a new chapter of my life and explore the world of classical music. But little did I know, this experience would ignite a passion that would transform into a new venture.

I’d never been deeply immersed in the classical music scene, but I wanted to learn. So, I took it a step further. Every weekend, I volunteered at the Philharmonic’s performances, working the ticket counter and absorbing everything I could. From conversations with musicians to backstage interactions with the conductor and guest soloists, I became inspired by the art, the dedication, and the culture.

That’s when I stumbled across the story of Francis Frank Johnson.

I had a passing knowledge of pre-Civil War history, but I had never heard of Johnson, an African American composer who, in 1792, became the first to "drop an album." That’s right—before Michael Jackson moonwalked across stages, Johnson was setting the precedent. He performed for Queen Victoria, earned a royal silver bugle, and basically invented the concept of pop music before the genre even had a name. The more I learned about him, the more I realized that Johnson was the Michael Jackson of his time, the original king of pop.

This discovery didn’t just inspire me—it changed me. Johnson’s story reminded me that everyone has a special gift, a "black piece" that can help them overcome their greatest challenges and fulfill their dreams. Just like Johnson did, I knew that I could do the same. And I knew others could too.

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Solving a Problem, Creating a Movement

As a tech startup founder, I’ve learned that the best solutions come from solving your own problems. My problem? It was nearly impossible to find information on African American classical musicians like Francis Frank Johnson. I spent weeks digging through archives, articles, and databases just to piece together his story. And when I was done, I wanted to experience it firsthand—to see it performed, to celebrate it. But there were no tickets to a show that didn’t exist.

That’s when it hit me: what if there was a way to preserve and celebrate these legacies? What if we could create an exhibit that honored African American classical composers, conductors, and musicians like Johnson, in a way that felt as accessible and interactive as their contributions deserved?

And that’s how (black Piece) was born—a next-generation art exhibit for African American classical musicians and their enduring impact on the world.

A Surreal Opportunity

After finishing a shift at the Philharmonic, I couldn’t get the idea of (black Piece) out of my head. So, I wrote it down, drafting a pitch deck to share with friends and family. It was a seed, but it needed a place to grow.

One afternoon, while working from home, I decided to take a walk to clear my head. I passed by the La Zona Art Venue, doors wide open, and on a whim, I stepped inside. I introduced myself to Anthony Garcia, the manager, and casually shared my idea for the exhibit. He listened, intrigued, and as soon as I handed him my pitch deck, his eyes lit up.

“We were just saying we needed an artist for this space,” he said. “You walked in at the perfect time. The timing is surreal. This space is available if you can be ready in two weeks.”

Two weeks. To pull off an entire exhibit.

But I knew this was one of those moments—those now-or-never opportunities that don’t come twice. So, I said yes. I told him, "I can do it."

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The Exhibit: A Leap into the Unknown

Now, less than two weeks from opening night, I’m deep in preparation. The exhibit will feature original works—pieces created by myself and other artists, blending technology and art in a way that bridges the old with the new. Like Da Vinci, who combined art with invention, I’m using RFID and NFC technologies to create an interactive element to the exhibit. You’ll not only see the art, but you’ll experience it in a way that brings these historical figures to life.

The exhibit will even debut a custom LLM (language learning model), trained on African American composers and musicians, letting guests dive deep into the stories behind the art. And this is just the beginning—if this beta test goes well, there’s potential for growth, sponsorships, and funding from local arts organizations and beyond.

But here’s the kicker: this isn’t just about me. A portion of the exhibit is reserved for disadvantaged and economically challenged artists. Artists who, like me, need that opportunity, that break, that chance to show the world what they’re made of. I’ve spent years waiting for that moment myself, and now I want to offer it to others.

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The Mission: Finding Your Black Piece

As I prepare for the opening, I keep coming back to Francis Frank Johnson’s story. His “black piece”—his unique gift—changed his life. He found it, nurtured it, and used it to break the algorithm of his time, to live his dream when the odds were stacked against him. And that’s what I want this exhibit to do: inspire others to find their own “black piece.” Because we all have one. It’s that thing inside us that can change the world around us if we embrace it.

So here we are, two weeks out from opening night. The doors to (black Piece) will open at 337 W. Commerce Street on October 13, 2024, at 6 p.m. And if you can’t make it, don’t worry—there will be more shows in 2025. But remember, there will only ever be one first show.

This is just the beginning.

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