Arts & CultureArts & Culture

Art Shanks II Fought Violence With Blue-Collar Training

After the 1989 earthquake, Shanks II founded a program to help rebuild his city — in more ways than one.

4h ago

Billy Joel, Stevie Nicks to Play Co-Headlining Concert at Levi's Stadium

1h ago

Gene Hackman, Found Dead at 95, Was One of Hollywood’s Most Respected Actors

4h ago

The Roxie Honors the Late, Great David Lynch with a Retrospective

6h ago

In Paul McCartney’s Photos at the de Young, a Wide-Eyed Look at a Distant America

19h ago

MeloDious Reps a New Generation of Bay Area Jazz at Noise Pop

Feb 26

Rightnowish Rightnowish

Rightnowish’s Grand Finale: Words of Wisdom from Timothy B.

Building a Native Arts and Culture Space From the Ground Up

‘All The Nights We Got to Dance’ is a Tribute to Queer Nightlife in SF

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After Censorship, Santa Rosa Students Write Their Own Play — and Take the Gold

Coach Quentin Thomas Embodies the Spirit of Oakland Basketball

A New 1,000-Capacity Music Venue Is Coming to Downtown Oakland

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The Do List The Do List

Billy Joel, Stevie Nicks to Play Co-Headlining Concert at Levi's Stadium

The Roxie Honors the Late, Great David Lynch with a Retrospective

In Paul McCartney’s Photos at the de Young, a Wide-Eyed Look at a Distant America

Food Food

Every Dish You Need to Try at T'Chaka, Oakland's First Haitian Restaurant

Believe the Teens: Beep’s Is SF’s Best Spot for Late-Night Burgers and Shakes

First Known Cookbook by a Black American Woman Is Back in Print

That’s My Word That’s My Word

Jan 15

With Casual’s ‘Starduster,’ a Rap Legend Reaches New Heights

Nov 19, 2024

Saafir, Inventive and Dextrous Oakland Rapper, Dies at 54

Nov 14, 2024

‘Never Underestimate the OG’: Richie Rich's Second Act

More Bay Area Hip Hop

KQED’s Arts & Culture desk brings daily, in-depth cultural commentary and coverage of the Bay Area with a mission to enrich lives and inspire participation.
Who We Are

Rebel Girls From Bay Area History Rebel Girls From Bay Area History

The ‘Rolling Warrior’ Who Demanded Equality for People With Disabilities

The Filipina Activist So Unstoppable, Her Nickname Was ‘Bullet’

The Transgender Topless Dancer Who Went to War with Prison Authorities

More about Rebel Girls From Bay Area History

More Arts

Billy Joel, Stevie Nicks to Play Co-Headlining Concert at Levi's Stadium

The two rock icons perform together in the Bay Area on Oct. 4.

Art Shanks II Fought Violence With Blue-Collar Training

After the 1989 earthquake, Shanks II founded a program to help rebuild his city — in more ways than one.

Gene Hackman, Found Dead at 95, Was One of Hollywood’s Most Respected Actors

The Oscar-winning actor and star of ‘The French Connection’ was found dead at his home with his wife and dog.

The Roxie Honors the Late, Great David Lynch with a Retrospective

The Roxie celebrates the singular filmmaker with a curated retrospective of his surreal, unsettling flicks.

In Paul McCartney’s Photos at the de Young, a Wide-Eyed Look at a Distant America

Over 250 recently unearthed photos by McCartney show the Beatles at the start of their frenetic fame.

MeloDious Reps a New Generation of Bay Area Jazz at Noise Pop

The siblings, aged 17 to 21, are making waves with their uplifting jazz fusion. They close out the festival on March 2.

Michelle Trachtenberg, ‘Buffy the Vampire Slayer’ and ‘Harriet the Spy’ Star, Dies at 39

Trachtenberg was found unresponsive by New York City police at a high-rise building in Manhattan.

Funding for KQED Arts & Culture is provided by:

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In 2017, Marisol won an Emmy Award for her work on the televised documentary, \u003cem>City Rising\u003c/em>, examining California's affordable housing crisis and the historical roots of gentrification.", "avatar": "https://secure.gravatar.com/avatar/6c3db46a1cabb5e1fe9a365b5f4e681e?s=600&d=blank&r=g", "twitter": "marisolreports", "facebook": null, "instagram": null, "linkedin": null, "sites": [ { "site": "arts", "roles": [] }, { "site": "news", "roles": [ "edit_others_posts" ] } ], "headData": { "title": "Marisol Medina-Cadena | KQED", "description": "Producer, Rightnowish Podcast", "ogImgSrc": "https://secure.gravatar.com/avatar/6c3db46a1cabb5e1fe9a365b5f4e681e?s=600&d=blank&r=g", "twImgSrc": "https://secure.gravatar.com/avatar/6c3db46a1cabb5e1fe9a365b5f4e681e?s=600&d=blank&r=g" }, "isLoading": false, "link": "/author/mmedina" }, "byline_food_1337930": { "type": "authors", "id": "byline_food_1337930", "meta": { "override": true }, "slug": "byline_food_1337930", "name": "KQED Food Staff", "isLoading": false }, "byline_arts_13972098": { "type": "authors", "id": "byline_arts_13972098", "meta": { "override": true }, "slug": "byline_arts_13972098", "name": "Neda Ulaby, NPR", "isLoading": false }, "ltsai": { "type": "authors", "id": "11743", "meta": { "index": "authors_1716337520", "id": "11743", "found": true }, "name": "Luke Tsai", "firstName": "Luke", "lastName": "Tsai", "slug": "ltsai", "email": "[email protected]", "display_author_email": true, "staff_mastheads": [ "arts" ], "title": "Food Editor", "bio": "Luke Tsai is KQED's food editor and resident stinky tofu connoisseur. Prior to KQED, he was an editor at Eater SF, \u003cem>San Francisco \u003c/em>magazine, and the \u003cem>East Bay Express\u003c/em>, and his work has also appeared in TASTE, the \u003cem>San Francisco Chronicle\u003c/em>, and the \u003cem>Best Food Writing\u003c/em> anthology. When he isn't writing or editing, you'll find him eating most everything he can get his hands on.", "avatar": "https://secure.gravatar.com/avatar/d1ff591a3047b143a0e23cf7f28fcac0?s=600&d=blank&r=g", "twitter": "theluketsai", "facebook": null, "instagram": null, "linkedin": null, "sites": [ { "site": "", "roles": [ "editor" ] }, { "site": "arts", "roles": [ "administrator" ] }, { "site": "bayareabites", "roles": [ "editor" ] }, { "site": "food", "roles": [ "editor" ] } ], "headData": { "title": "Luke Tsai | KQED", "description": "Food Editor", "ogImgSrc": "https://secure.gravatar.com/avatar/d1ff591a3047b143a0e23cf7f28fcac0?s=600&d=blank&r=g", "twImgSrc": "https://secure.gravatar.com/avatar/d1ff591a3047b143a0e23cf7f28fcac0?s=600&d=blank&r=g" }, "isLoading": false, "link": "/author/ltsai" }, "tpham": { "type": "authors", "id": "11753", "meta": { "index": "authors_1716337520", "id": "11753", "found": true }, "name": "Thien Pham", "firstName": "Thien", "lastName": "Pham", "slug": "tpham", "email": "[email protected]", "display_author_email": false, "staff_mastheads": [], "title": "KQED Contributor", "bio": null, "avatar": "https://secure.gravatar.com/avatar/fa68ed7d6a785e5294a7bb79a3f409c3?s=600&d=blank&r=g", "twitter": null, "facebook": null, "instagram": null, "linkedin": null, "sites": [ { "site": "arts", "roles": [ "contributor" ] } ], "headData": { "title": "Thien Pham | KQED", "description": "KQED Contributor", "ogImgSrc": "https://secure.gravatar.com/avatar/fa68ed7d6a785e5294a7bb79a3f409c3?s=600&d=blank&r=g", "twImgSrc": "https://secure.gravatar.com/avatar/fa68ed7d6a785e5294a7bb79a3f409c3?s=600&d=blank&r=g" }, "isLoading": false, "link": "/author/tpham" }, "ralexandra": { "type": "authors", "id": "11242", "meta": { "index": "authors_1716337520", "id": "11242", "found": true }, "name": "Rae Alexandra", "firstName": "Rae", "lastName": "Alexandra", "slug": "ralexandra", "email": "[email protected]", "display_author_email": true, "staff_mastheads": [ "arts" ], "title": "Staff Writer", "bio": "Rae Alexandra is Staff Writer for KQED Arts & Culture, and the creator/author of the \u003ca href=\"https://www.kqed.org/arts/program/rebel-girls-from-bay-area-history\">Rebel Girls From Bay Area History\u003c/a> and \u003ca href=\"https://www.kqed.org/bizarrebayarea\">Bizarre Bay Area\u003c/a> series. Born and raised in Wales, she started her career in London, as a music journalist for uproarious rock ’n’ roll magazine, \u003cem>\u003ca href=\"https://www.kerrang.com/features/an-oral-history-of-alternative-tentacles-40-years-of-keeping-punk-alive/\">Kerrang!\u003c/a>\u003c/em>. In America, she got her start at alt-weeklies including \u003cem>SF Weekly\u003c/em>\u003c/a> and the \u003ca href=\"https://www.villagevoice.com/author/raealexandra/\">\u003cem>Village Voice\u003c/em>\u003c/a>, and freelanced for a great many other publications. Her undying love for San Francisco has, more recently, turned her into \u003ca href=\"https://www.kqed.org/arts/category/history\">a history nerd\u003c/a>. 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Get daily Arts & Culture updates by following us on \u003ca href=\"https://www.instagram.com/kqedarts/\" target=\"_blank\" rel=\"noopener noreferrer\">Instagram\u003c/a>, \u003ca href=\"https://www.facebook.com/kqedarts/\" target=\"_blank\" rel=\"noopener noreferrer\">Facebook\u003c/a> and \u003ca href=\"https://twitter.com/KQEDarts\" target=\"_blank\" rel=\"noopener noreferrer\">Twitter\u003c/a>, or \u003ca href=\"https://www.kqed.org/arts/13883176/hey-bay-area-have-a-story-to-share-we-want-to-listen\" target=\"_blank\" rel=\"noopener noreferrer\">contact us\u003c/a>." }, "innerBlocks": [], "innerHTML": "\n\u003cdiv class=\"wp-block-kqed-section-overview\">\u003c/div>\n", "innerContent": [ "\n\u003cdiv class=\"wp-block-kqed-section-overview\">\u003c/div>\n" ] }, { "blockName": "kqed/post-list", "attrs": { "layout": "cardSeriesShowcase", "query": "posts/?tag=thedolist&queryId=e1d07529bb", "title": "The Do List", "sectionUrl": "/thedolist", "buttonText": "More from The Do List" }, "innerBlocks": [], "innerHTML": "", "innerContent": [] }, { "blockName": "kqed/post-list", "attrs": { "layout": "cardSeriesShowcase", "query": "posts/bayareabites,arts,food?category=food&queryId=4f098fce0e", "title": "Food", "sectionUrl": "/food", "buttonText": "More from Food" }, "innerBlocks": [], "innerHTML": "", "innerContent": [] }, { "blockName": "kqed/ad", "attrs": { "adType": "inHouse" }, "innerBlocks": [], "innerHTML": "", "innerContent": [] }, { "blockName": "kqed/post-list", "attrs": { "layout": "cardsRecent", "query": "posts/arts?tag=tmw-latest&queryId=9fee1927dd", "title": "That’s My Word", "sectionUrl": "/bayareahiphop", "buttonText": "More Bay Area Hip Hop" }, "innerBlocks": [], "innerHTML": "", "innerContent": [] }, { "blockName": "kqed/section-overview", "attrs": { "html": "KQED’s Arts & Culture desk brings daily, in-depth cultural commentary and coverage of the Bay Area with a mission to enrich lives and inspire participation.\u003cbr />\u003ca href=\"/arts/staff\">Who We Are\u003c/a>" }, "innerBlocks": [], "innerHTML": "\n\u003cdiv class=\"wp-block-kqed-section-overview\">\u003c/div>\n", "innerContent": [ "\n\u003cdiv class=\"wp-block-kqed-section-overview\">\u003c/div>\n" ] }, { "blockName": "kqed/ad", "attrs": [], "innerBlocks": [], "innerHTML": "", "innerContent": [] }, { "blockName": "kqed/post-list", "attrs": { "layout": "cardSeriesShowcase", "query": "posts?tag=rebelgirls&queryId=533d4deec9", "title": "Rebel Girls From Bay Area History", "sectionUrl": "/rebelgirls", "buttonText": "More about Rebel Girls From Bay Area History" }, "innerBlocks": [], "innerHTML": "", "innerContent": [] }, { "blockName": "kqed/post-list", "attrs": { "layout": "cardTextHeavyLarge", "query": "posts/arts?&queryId=f130dd32ae", "title": "More Arts", "seeMore": true }, "innerBlocks": [], "innerHTML": "", "innerContent": [] }, { "blockName": "kqed/funding-credits", "attrs": { "text": "Funding for KQED Arts & Culture is provided by:\u003cbr>\u003cbr>The William and Flora Hewlett Foundation, Akonadi Foundation, the Andrew W. Mellon Foundation, the National Endowment for the Arts, Yogen and Peggy Dalal, Diane B. Wilsey, the William and Gretchen Kimball Fund, Campaign 21 and the members of KQED." }, "innerBlocks": [], "innerHTML": "", "innerContent": [] } ], "status": "publish", "parent": 0, "modified": 1723587280, "format": "standard", "path": "/arts", "redirect": { "type": "internal", "url": "/arts" }, "audioTrackLength": null, "parsedContent": [ { "type": "contentString", "content": "\u003cdiv class=\"post-body\">\u003cp>\u003cdiv class=\"wp-block-kqed-columns\">\n\u003cdiv class=\"wp-block-kqed-column\">\u003c/div>\n\n\n\n\u003cdiv class=\"wp-block-kqed-column\">\u003c/div>\n\u003c/div>\n\n\n\n\n\n\n\n\n\n\u003cdiv class=\"wp-block-kqed-section-overview\">\u003c/div>\n\n\n\n\n\n\n\n\n\n\n\n\u003cdiv class=\"wp-block-kqed-section-overview\">\u003c/div>\n\n\n\n\n\n\n\n\n\u003cp>\u003c/p>\u003c/div>", "attributes": { "named": {}, "numeric": [] } }, { "type": "component", "content": "", "name": "ad", "attributes": { "named": { "label": "fullwidth" }, "numeric": [ "fullwidth" ] } }, { "type": "contentString", "content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>", "attributes": { "named": {}, "numeric": [] } } ], "label": "root-site", "isLoading": false } }, "postsReducer": { "stream_live": { "type": "live", "id": "stream_live", "audioUrl": "https://streams.kqed.org/kqedradio", "title": "Live Stream", "excerpt": "Live Stream information currently unavailable.", "link": "/radio", "featImg": "", "label": { "name": "KQED Live", "link": "/" } }, "stream_kqedNewscast": { "type": "posts", "id": "stream_kqedNewscast", "audioUrl": "https://www.kqed.org/.stream/anon/radio/RDnews/newscast.mp3?_=1", "title": "KQED Newscast", "featImg": "", "label": { "name": "88.5 FM", "link": "/" } }, "arts_13970181": { "type": "posts", "id": "arts_13970181", "meta": { "index": "posts_1716263798", "site": "arts", "id": "13970181", "score": null, "sort": [ 1740677380000 ] }, "guestAuthors": [], "slug": "art-shanks-ii-cypress-mandela-oakland", "title": "Art Shanks II Fought Violence With Blue-Collar Training", "publishDate": 1740677380, "format": "standard", "headTitle": "Art Shanks II Fought Violence With Blue-Collar Training | KQED", "labelTerm": { "site": "arts" }, "content": "\u003cp>What does the future hold for West Oakland?\u003c/p>\n\u003cp>As three-dimensional models and digital renderings get created, decisions are being made right now that will dictate the future of the land.\u003c/p>\n\u003cp>There’s a long list of moving pieces, starting with the proposed redevelopment of the West Oakland BART station, which would bring hundreds of new residents and a shopping center in a giant 5.5-acre project called \u003ca href=\"https://mandelastation.com/\" target=\"_blank\" rel=\"noopener\">Mandela Station\u003c/a>.\u003c/p>\n\u003cp>There’s \u003ca href=\"https://dot.ca.gov/caltrans-near-me/district-4/d4-projects/vision-980\" target=\"_blank\" rel=\"noopener\">Vision 980\u003c/a>, a study and subsequent proposal to remove all or some of the 980 Freeway; in doing so, CalTrans and Oakland could potentially undo\u003ca href=\"https://oaklandside.org/2024/04/10/remove-oakland-freeway-i-980-racial-injustice-gentrification-community/\" target=\"_blank\" rel=\"noopener\"> the harm it caused when it was constructed\u003c/a>, which left the redlined African American neighborhood of West Oakland separated from downtown. There’s discussions about the future of the \u003ca href=\"https://www.kqed.org/news/11910890/how-oaklands-16th-street-train-station-helped-build-west-oakland-and-the-modern-civil-rights-movement\" target=\"_blank\" rel=\"noopener\">16th Street Station\u003c/a>, \u003ca href=\"https://www.kqed.org/news/12024819/historic-landmark-status-boosts-push-restore-iconic-west-oakland-train-station\" target=\"_blank\" rel=\"noopener\">recently added to the National Register of Historic Places\u003c/a>, which welcomed scores of African Americans arriving from southern states during the Great Migration. \u003c/p>\n\u003cp>An initiative called “\u003ca href=\"https://www.7thstreetoakland.com/\" target=\"_blank\" rel=\"noopener\">7th Street Thrives\u003c/a>” aims to return vibrancy to an area of West Oakland that was once a thriving Black business district. And there are lingering whispers about the future of \u003ca href=\"https://oaklandside.org/2024/09/10/port-oakland-howard-terminal-development/\" target=\"_blank\" rel=\"noopener\">Howard Terminal\u003c/a> which, though closer to Jack London Square, will undoubtedly impact West Oakland.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As all these pieces move, there are people pushing to ensure that the future of the land honors those who’ve contributed to it in the past.\u003c/p>\n\u003cfigure id=\"attachment_13972354\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13972354\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Screenshot-2025-02-19-at-11.44.01%E2%80%AFAM-800x1068.png\" alt=\"Three men, two in suits and the third in a collared shirt, pose for a photo. \" width=\"800\" height=\"1068\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Screenshot-2025-02-19-at-11.44.01 AM-800x1068.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Screenshot-2025-02-19-at-11.44.01 AM-1020x1361.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Screenshot-2025-02-19-at-11.44.01 AM-160x214.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Screenshot-2025-02-19-at-11.44.01 AM-768x1025.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Screenshot-2025-02-19-at-11.44.01 AM-1151x1536.png 1151w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Screenshot-2025-02-19-at-11.44.01 AM.png 1220w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Art Shanks III, Art Shanks II and legendary singer Lenny Williams. \u003ccite>(Courtesy of Art Shanks II)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Rising from disaster\u003c/h2>\n\u003cp>Just after a portion of the Cypress Freeway structure collapsed during the massive \u003ca href=\"https://www.conservation.ca.gov/cgs/earthquakes/loma-prieta\" target=\"_blank\" rel=\"noopener\">Loma Prieta Earthquake\u003c/a> in 1989, Art Shanks II and the other men in his family sprung to action. Shanks II, his brothers and father, all with backgrounds in apprenticeship, were in some ways ready for the unthinkable.\u003c/p>\n\u003cp>Shanks’ son, Art Shanks III, remembers his family members leaving the house, ladders in tow, and returning with stories about pulling people out of the carnage.\u003c/p>\n\u003cp>After that horrible day, Shanks II became deeply involved with the community in the surrounding area, as well as the stretch of road that remained after the rubble was cleared. One of the westernmost main thoroughfares in Oakland, the street was desolate and dark. In the following years, it would be refurbished with a walkable tree-lined median and bike lane, and renamed in honor of the first president of South Africa, Nelson Mandela.\u003c/p>\n\u003cp>At the same time, realizing that a new generation of workers would be needed to rebuild Oakland’s infrastructure, Shanks II founded an apprenticeship program to usher in the next wave of blue collar workers; he called it the \u003ca href=\"https://www.cypressmandela.org/\" target=\"_blank\" rel=\"noopener\">Cypress Mandela Training Center\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13972055\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13972055\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/IMG_0045-800x1067.jpg\" alt=\"A man in an Oakland A's jersey and black baseball hat stand in front of a two-story sculpture of art made to look like mangled ladders. \" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/IMG_0045-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/IMG_0045-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/IMG_0045-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/IMG_0045-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/IMG_0045-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/IMG_0045-1536x2048.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/IMG_0045-scaled.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Art Shanks III standing in front of ‘15 Seconds,’ a structure on 14th Street and Mandela Parkway in West Oakland memorializing those who lost their lives during the 1989 Loma Prieta Earthquake. The three ladders symbolize the rescue efforts of local residents, who placed ladders on the collapsed freeway to reach those trapped by the damage. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Accolades for community committment\u003c/h2>\n\u003cp>Last summer, the \u003ca href=\"https://oakland.legistar.com/LegislationDetail.aspx?ID=6728630&GUID=E8E5E5B1-02BD-4D24-B6F6-46330AE89CA1\" target=\"_blank\" rel=\"noopener\">Oakland City Council voted< /a>to mount commemorative placards on Mandela Parkway between 7th Street and West Grand Avenue in honor of Shanks II, who passed in December of 2019.\u003c/a>\u003c/p>\n\u003cp>“A distinguished member of the Oakland community,” reads the City Council resolution, “Mr. Shanks II’s efforts in pioneering pre-apprenticeship green construction training and workforce development concepts have not only elevated Oakland but have had a profound impact beyond our city’s borders, addressing challenges such as violence, poverty and literacy, yielding proven results nationally.”\u003c/p>\n\u003cp>At the time of the 1989 quake, Oakland was already battling a long list of issues: high unemployment, the crack epidemic and mass incarceration. Over the past four decades, the free apprenticeship program founded by Shanks II has opened career paths for thousands of people, bolstered the local construction industry and helped combat crime in the community. \u003c/p>\n\u003cp>The program also landed Shanks II numerous accolades. Under the Clinton administration, Shanks II served on the advisory board of the Federal Committee on Registered Apprenticeships. Cypress Mandela received awards from the Department of Transportation, the Federal Housing Authority and the Department of Labor. In 2015, Shanks II received the coveted Jefferson Award for supporting workforce development in Oakland.\u003c/p>\n\u003cp>In January of 2020, one month after his death, Sen. Nancy Skinner honored Shanks II while \u003ca href=\"https://www.youtube.com/watch?v=uwZdz2pwWf8\" target=\"_blank\" rel=\"noopener\">addressing the California Senate\u003c/a>. “The Cypress Mandela Training Program,” said Sen. Skinner, “was the very first green jobs construction program and brown fields training program ever.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=uwZdz2pwWf8\u003c/p>\n\u003ch2>Continuing the family legacy\u003c/h2>\n\u003cp>When the final votes were tallied and the commemorative plaque resolution became official, Shanks III says he was beyond happy, calling it “a blessing.”\u003c/p>\n\u003cp>Shanks III, a stalky bearded African American man, says it’s confirmation that people know that by learning a trade and working hard, success is attainable.\u003c/p>\n\u003cp>But even he had to learn that the hard way.\u003c/p>\n\u003cp>“I actually had to go to the program,” he says as we sit on the tree-lined median of Mandela Parkway. “I went to jail and I called my dad from jail,” recalls Shanks III. “He hung up on me.”\u003c/p>\n\u003cp>After a little tough love from his father, Shanks III was released. He enrolled in Cypress Mandela soon after.\u003c/p>\n\u003cfigure id=\"attachment_13972056\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13972056\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/IMG_0041-800x1067.jpg\" alt=\"A man stands with his back to the camera, showing the backside of a customized Oakland A's jersey that reads "A. Shanks 03."\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/IMG_0041-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/IMG_0041-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/IMG_0041-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/IMG_0041-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/IMG_0041-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/IMG_0041-1536x2048.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/IMG_0041-scaled.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Art Shanks III in his ‘A. Shanks 03’ customized Oakland A’s jersey. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He learned a range of skills, from construction to welding, but Shanks III didn’t stick with the program. He was interested in making media, producing videos and running a record label. That work has now grown to encompass multimedia making, as well as community activism.\u003c/p>\n\u003cp>Which, in a way, is exactly what his father did.\u003c/p>\n\u003cp>Shanks III says his father taught intergenerational skill development as a way to create community stability and combat neighborhood violence. To open employment pipelines, Cypress Mandela partnered with PG&E, East Bay MUD and the Oakland Unified School District, as well as established classes in local jails, reentry programs and probation departments.\u003c/p>\n\u003cp>“If you give people a way to make some money,” says Shanks III, referring to his father’s ideology, “they’re less likely to rob you.”\u003c/p>\n\u003cp>Just like his father, Shanks III works with local organizations, doing everything from recruiting young people for job fairs to visiting the homes of people who’ve recently lost loved ones to gunfire.\u003c/p>\n\u003cp>As an independent contractor, he works with the likes of \u003ca href=\"https://mentor.org/\" target=\"_blank\" rel=\"noopener\">The Mentoring Center\u003c/a> and \u003ca href=\"https://impactjustice.org/innovation/california-justice-leaders/\" target=\"_blank\" rel=\"noopener\">California Justice Leaders\u003c/a>, as well as \u003ca href=\"https://www.oaklandca.gov/departments/violence-prevention\" target=\"_blank\" rel=\"noopener\">Oakland’s Department of Violence Prevention\u003c/a> and the \u003ca href=\"https://ncapda.org/\" target=\"_blank\" rel=\"noopener\">National Coalition Against Prescription Drug Abuse\u003c/a> (NCAPDA).\u003c/p>\n\u003cp>Shanks III, a licensed opioid overdose awareness consultant, tells me, “I’ve administered Narcan right here,” as he points to the corner of Mandela Parkway and 14th Street. There, the two-story monument dedicated to the first responders of the ’89 earthquake stands adjacent to a gated area made to prevent people from sleeping in the park.\u003c/p>\n\u003cfigure id=\"attachment_13972059\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13972059\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/IMG_0037-800x1067.jpg\" alt=\"\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/IMG_0037-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/IMG_0037-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/IMG_0037-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/IMG_0037-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/IMG_0037-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/IMG_0037-1536x2048.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/IMG_0037-scaled.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The sculpture ‘15 Seconds’ by Steve Gillman. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A lasting impact\u003c/h2>\n\u003cp>Last year Oakland’s homicide count, \u003ca href=\"https://oaklandside.org/2025/01/14/oakland-police-end-of-year-crime-report-2024/\" target=\"_blank\" rel=\"noopener\">81 in total\u003c/a>, was lower than years prior. And overall, violent crime in Oakland has dropped since the period when Shanks II founded Cypress Mandela 35 years ago.\u003c/p>\n\u003cp>While crime waves are reflective of a number of variables, looking at changes over just one one year or even five years doesn’t always provide a clear picture. But decades worth of downward trends are evidence that something is working.\u003c/p>\n\u003cp>Through the work he does with nonprofits and organizations like \u003ca style=\"color: #41a62a\" href=\"https://www.self-sufficiency.org/\" target=\"_blank\" rel=\"noopener\">B.O.S.S.\u003c/a>, \u003ca href=\"https://accareconnect.org/\" target=\"_blank\" rel=\"noopener\">Alameda County Care Connect\u003c/a> and \u003ca href=\"https://prisonerswithchildren.org/all-of-us-or-none/\" target=\"_blank\" rel=\"noopener\">All Of Us Or None\u003c/a>, Shanks III sees incremental shifts. But at the same time, “a lot of people don’t know about these resources in the community… and that leads to violent cycles.”\u003c/p>\n\u003cp>Instead of “falling into that trap,” Shanks III references his father’s program. “You could actually get a trade underneath your belt,” he adds, “you could actually work hard and actually be successful.”\u003c/p>\n\u003cp>As Oakland goes through another iteration of development, the city has made it a point to erect street signs commemorating the names of people — Too Short, Tupac and Dr. Huey P. Newton — who helped to build up the Town, culturally.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Currently there is no installation date for the signs honoring Shanks II, but ideally, it would come soon. As someone who created a pipeline for workers to physically build up this community, Shanks III is more than deserving of the honor.\u003c/p>\n\n", "blocks": [], "excerpt": "After the 1989 earthquake, Shanks II founded a program to help rebuild his city — in more ways than one.", "status": "publish", "parent": 0, "modified": 1740677380, "stats": { "hasAudio": false, "hasVideo": true, "hasChartOrMap": false, "iframeSrcs": [], "hasGoogleForm": false, "hasGallery": false, "hasHearkenModule": false, "hasPolis": false, "paragraphCount": 35, "wordCount": 1482 }, "headData": { "title": "Art Shanks II Fought Violence With Blue-Collar Training | KQED", "description": "After the 1989 earthquake, Shanks II founded a program to help rebuild his city — in more ways than one.", "ogTitle": "", "ogDescription": "", "ogImgId": "", "twTitle": "", "twDescription": "", "twImgId": "", "schema": { "@context": "http://schema.org", "@type": "Article", "headline": "Art Shanks II Fought Violence With Blue-Collar Training", "datePublished": "2025-02-27T09:29:40-08:00", "dateModified": "2025-02-27T09:29:40-08:00", "image": "https://cdn.kqed.org/wp-content/uploads/2020/02/[email protected]" } }, "sticky": false, "nprStoryId": "kqed-13970181", "templateType": "standard", "featuredImageType": "standard", "excludeFromSiteSearch": "Include", "articleAge": "0", "path": "/arts/13970181/art-shanks-ii-cypress-mandela-oakland", "audioTrackLength": null, "parsedContent": [ { "type": "contentString", "content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>What does the future hold for West Oakland?\u003c/p>\n\u003cp>As three-dimensional models and digital renderings get created, decisions are being made right now that will dictate the future of the land.\u003c/p>\n\u003cp>There’s a long list of moving pieces, starting with the proposed redevelopment of the West Oakland BART station, which would bring hundreds of new residents and a shopping center in a giant 5.5-acre project called \u003ca href=\"https://mandelastation.com/\" target=\"_blank\" rel=\"noopener\">Mandela Station\u003c/a>.\u003c/p>\n\u003cp>There’s \u003ca href=\"https://dot.ca.gov/caltrans-near-me/district-4/d4-projects/vision-980\" target=\"_blank\" rel=\"noopener\">Vision 980\u003c/a>, a study and subsequent proposal to remove all or some of the 980 Freeway; in doing so, CalTrans and Oakland could potentially undo\u003ca href=\"https://oaklandside.org/2024/04/10/remove-oakland-freeway-i-980-racial-injustice-gentrification-community/\" target=\"_blank\" rel=\"noopener\"> the harm it caused when it was constructed\u003c/a>, which left the redlined African American neighborhood of West Oakland separated from downtown. There’s discussions about the future of the \u003ca href=\"https://www.kqed.org/news/11910890/how-oaklands-16th-street-train-station-helped-build-west-oakland-and-the-modern-civil-rights-movement\" target=\"_blank\" rel=\"noopener\">16th Street Station\u003c/a>, \u003ca href=\"https://www.kqed.org/news/12024819/historic-landmark-status-boosts-push-restore-iconic-west-oakland-train-station\" target=\"_blank\" rel=\"noopener\">recently added to the National Register of Historic Places\u003c/a>, which welcomed scores of African Americans arriving from southern states during the Great Migration. \u003c/p>\n\u003cp>An initiative called “\u003ca href=\"https://www.7thstreetoakland.com/\" target=\"_blank\" rel=\"noopener\">7th Street Thrives\u003c/a>” aims to return vibrancy to an area of West Oakland that was once a thriving Black business district. And there are lingering whispers about the future of \u003ca href=\"https://oaklandside.org/2024/09/10/port-oakland-howard-terminal-development/\" target=\"_blank\" rel=\"noopener\">Howard Terminal\u003c/a> which, though closer to Jack London Square, will undoubtedly impact West Oakland.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>", "attributes": { "named": {}, "numeric": [] } }, { "type": "component", "content": "", "name": "ad", "attributes": { "named": { "label": "fullwidth" }, "numeric": [ "fullwidth" ] } }, { "type": "contentString", "content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As all these pieces move, there are people pushing to ensure that the future of the land honors those who’ve contributed to it in the past.\u003c/p>\n\u003cfigure id=\"attachment_13972354\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13972354\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Screenshot-2025-02-19-at-11.44.01%E2%80%AFAM-800x1068.png\" alt=\"Three men, two in suits and the third in a collared shirt, pose for a photo. \" width=\"800\" height=\"1068\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Screenshot-2025-02-19-at-11.44.01 AM-800x1068.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Screenshot-2025-02-19-at-11.44.01 AM-1020x1361.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Screenshot-2025-02-19-at-11.44.01 AM-160x214.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Screenshot-2025-02-19-at-11.44.01 AM-768x1025.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Screenshot-2025-02-19-at-11.44.01 AM-1151x1536.png 1151w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Screenshot-2025-02-19-at-11.44.01 AM.png 1220w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Art Shanks III, Art Shanks II and legendary singer Lenny Williams. \u003ccite>(Courtesy of Art Shanks II)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Rising from disaster\u003c/h2>\n\u003cp>Just after a portion of the Cypress Freeway structure collapsed during the massive \u003ca href=\"https://www.conservation.ca.gov/cgs/earthquakes/loma-prieta\" target=\"_blank\" rel=\"noopener\">Loma Prieta Earthquake\u003c/a> in 1989, Art Shanks II and the other men in his family sprung to action. Shanks II, his brothers and father, all with backgrounds in apprenticeship, were in some ways ready for the unthinkable.\u003c/p>\n\u003cp>Shanks’ son, Art Shanks III, remembers his family members leaving the house, ladders in tow, and returning with stories about pulling people out of the carnage.\u003c/p>\n\u003cp>After that horrible day, Shanks II became deeply involved with the community in the surrounding area, as well as the stretch of road that remained after the rubble was cleared. One of the westernmost main thoroughfares in Oakland, the street was desolate and dark. In the following years, it would be refurbished with a walkable tree-lined median and bike lane, and renamed in honor of the first president of South Africa, Nelson Mandela.\u003c/p>\n\u003cp>At the same time, realizing that a new generation of workers would be needed to rebuild Oakland’s infrastructure, Shanks II founded an apprenticeship program to usher in the next wave of blue collar workers; he called it the \u003ca href=\"https://www.cypressmandela.org/\" target=\"_blank\" rel=\"noopener\">Cypress Mandela Training Center\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13972055\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13972055\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/IMG_0045-800x1067.jpg\" alt=\"A man in an Oakland A's jersey and black baseball hat stand in front of a two-story sculpture of art made to look like mangled ladders. \" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/IMG_0045-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/IMG_0045-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/IMG_0045-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/IMG_0045-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/IMG_0045-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/IMG_0045-1536x2048.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/IMG_0045-scaled.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Art Shanks III standing in front of ‘15 Seconds,’ a structure on 14th Street and Mandela Parkway in West Oakland memorializing those who lost their lives during the 1989 Loma Prieta Earthquake. The three ladders symbolize the rescue efforts of local residents, who placed ladders on the collapsed freeway to reach those trapped by the damage. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Accolades for community committment\u003c/h2>\n\u003cp>Last summer, the \u003ca href=\"https://oakland.legistar.com/LegislationDetail.aspx?ID=6728630&GUID=E8E5E5B1-02BD-4D24-B6F6-46330AE89CA1\" target=\"_blank\" rel=\"noopener\">Oakland City Council voted< /a>to mount commemorative placards on Mandela Parkway between 7th Street and West Grand Avenue in honor of Shanks II, who passed in December of 2019.\u003c/a>\u003c/p>\n\u003cp>“A distinguished member of the Oakland community,” reads the City Council resolution, “Mr. Shanks II’s efforts in pioneering pre-apprenticeship green construction training and workforce development concepts have not only elevated Oakland but have had a profound impact beyond our city’s borders, addressing challenges such as violence, poverty and literacy, yielding proven results nationally.”\u003c/p>\n\u003cp>At the time of the 1989 quake, Oakland was already battling a long list of issues: high unemployment, the crack epidemic and mass incarceration. Over the past four decades, the free apprenticeship program founded by Shanks II has opened career paths for thousands of people, bolstered the local construction industry and helped combat crime in the community. \u003c/p>\n\u003cp>The program also landed Shanks II numerous accolades. Under the Clinton administration, Shanks II served on the advisory board of the Federal Committee on Registered Apprenticeships. Cypress Mandela received awards from the Department of Transportation, the Federal Housing Authority and the Department of Labor. In 2015, Shanks II received the coveted Jefferson Award for supporting workforce development in Oakland.\u003c/p>\n\u003cp>In January of 2020, one month after his death, Sen. Nancy Skinner honored Shanks II while \u003ca href=\"https://www.youtube.com/watch?v=uwZdz2pwWf8\" target=\"_blank\" rel=\"noopener\">addressing the California Senate\u003c/a>. “The Cypress Mandela Training Program,” said Sen. Skinner, “was the very first green jobs construction program and brown fields training program ever.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/uwZdz2pwWf8'\n title='//www.youtube.com/embed/uwZdz2pwWf8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>Continuing the family legacy\u003c/h2>\n\u003cp>When the final votes were tallied and the commemorative plaque resolution became official, Shanks III says he was beyond happy, calling it “a blessing.”\u003c/p>\n\u003cp>Shanks III, a stalky bearded African American man, says it’s confirmation that people know that by learning a trade and working hard, success is attainable.\u003c/p>\n\u003cp>But even he had to learn that the hard way.\u003c/p>\n\u003cp>“I actually had to go to the program,” he says as we sit on the tree-lined median of Mandela Parkway. “I went to jail and I called my dad from jail,” recalls Shanks III. “He hung up on me.”\u003c/p>\n\u003cp>After a little tough love from his father, Shanks III was released. He enrolled in Cypress Mandela soon after.\u003c/p>\n\u003cfigure id=\"attachment_13972056\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13972056\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/IMG_0041-800x1067.jpg\" alt=\"A man stands with his back to the camera, showing the backside of a customized Oakland A's jersey that reads "A. Shanks 03."\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/IMG_0041-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/IMG_0041-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/IMG_0041-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/IMG_0041-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/IMG_0041-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/IMG_0041-1536x2048.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/IMG_0041-scaled.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Art Shanks III in his ‘A. Shanks 03’ customized Oakland A’s jersey. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He learned a range of skills, from construction to welding, but Shanks III didn’t stick with the program. He was interested in making media, producing videos and running a record label. That work has now grown to encompass multimedia making, as well as community activism.\u003c/p>\n\u003cp>Which, in a way, is exactly what his father did.\u003c/p>\n\u003cp>Shanks III says his father taught intergenerational skill development as a way to create community stability and combat neighborhood violence. To open employment pipelines, Cypress Mandela partnered with PG&E, East Bay MUD and the Oakland Unified School District, as well as established classes in local jails, reentry programs and probation departments.\u003c/p>\n\u003cp>“If you give people a way to make some money,” says Shanks III, referring to his father’s ideology, “they’re less likely to rob you.”\u003c/p>\n\u003cp>Just like his father, Shanks III works with local organizations, doing everything from recruiting young people for job fairs to visiting the homes of people who’ve recently lost loved ones to gunfire.\u003c/p>\n\u003cp>As an independent contractor, he works with the likes of \u003ca href=\"https://mentor.org/\" target=\"_blank\" rel=\"noopener\">The Mentoring Center\u003c/a> and \u003ca href=\"https://impactjustice.org/innovation/california-justice-leaders/\" target=\"_blank\" rel=\"noopener\">California Justice Leaders\u003c/a>, as well as \u003ca href=\"https://www.oaklandca.gov/departments/violence-prevention\" target=\"_blank\" rel=\"noopener\">Oakland’s Department of Violence Prevention\u003c/a> and the \u003ca href=\"https://ncapda.org/\" target=\"_blank\" rel=\"noopener\">National Coalition Against Prescription Drug Abuse\u003c/a> (NCAPDA).\u003c/p>\n\u003cp>Shanks III, a licensed opioid overdose awareness consultant, tells me, “I’ve administered Narcan right here,” as he points to the corner of Mandela Parkway and 14th Street. There, the two-story monument dedicated to the first responders of the ’89 earthquake stands adjacent to a gated area made to prevent people from sleeping in the park.\u003c/p>\n\u003cfigure id=\"attachment_13972059\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13972059\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/IMG_0037-800x1067.jpg\" alt=\"\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/IMG_0037-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/IMG_0037-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/IMG_0037-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/IMG_0037-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/IMG_0037-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/IMG_0037-1536x2048.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/IMG_0037-scaled.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The sculpture ‘15 Seconds’ by Steve Gillman. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A lasting impact\u003c/h2>\n\u003cp>Last year Oakland’s homicide count, \u003ca href=\"https://oaklandside.org/2025/01/14/oakland-police-end-of-year-crime-report-2024/\" target=\"_blank\" rel=\"noopener\">81 in total\u003c/a>, was lower than years prior. And overall, violent crime in Oakland has dropped since the period when Shanks II founded Cypress Mandela 35 years ago.\u003c/p>\n\u003cp>While crime waves are reflective of a number of variables, looking at changes over just one one year or even five years doesn’t always provide a clear picture. But decades worth of downward trends are evidence that something is working.\u003c/p>\n\u003cp>Through the work he does with nonprofits and organizations like \u003ca style=\"color: #41a62a\" href=\"https://www.self-sufficiency.org/\" target=\"_blank\" rel=\"noopener\">B.O.S.S.\u003c/a>, \u003ca href=\"https://accareconnect.org/\" target=\"_blank\" rel=\"noopener\">Alameda County Care Connect\u003c/a> and \u003ca href=\"https://prisonerswithchildren.org/all-of-us-or-none/\" target=\"_blank\" rel=\"noopener\">All Of Us Or None\u003c/a>, Shanks III sees incremental shifts. But at the same time, “a lot of people don’t know about these resources in the community… and that leads to violent cycles.”\u003c/p>\n\u003cp>Instead of “falling into that trap,” Shanks III references his father’s program. “You could actually get a trade underneath your belt,” he adds, “you could actually work hard and actually be successful.”\u003c/p>\n\u003cp>As Oakland goes through another iteration of development, the city has made it a point to erect street signs commemorating the names of people — Too Short, Tupac and Dr. Huey P. Newton — who helped to build up the Town, culturally.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>", "attributes": { "named": {}, "numeric": [] } }, { "type": "component", "content": "", "name": "ad", "attributes": { "named": { "label": "floatright" }, "numeric": [ "floatright" ] } }, { "type": "contentString", "content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Currently there is no installation date for the signs honoring Shanks II, but ideally, it would come soon. As someone who created a pipeline for workers to physically build up this community, Shanks III is more than deserving of the honor.\u003c/p>\n\n\u003c/div>\u003c/p>", "attributes": { "named": {}, "numeric": [] } } ], "link": "/arts/13970181/art-shanks-ii-cypress-mandela-oakland", "authors": [ "11491" ], "categories": [ "arts_1" ], "tags": [ "arts_10278", "arts_1143", "arts_2533" ], "featImg": "arts_13972057", "label": "arts" }, "arts_13972419": { "type": "posts", "id": "arts_13972419", "meta": { "index": "posts_1716263798", "site": "arts", "id": "13972419", "score": null, "sort": [ 1740689250000 ] }, "guestAuthors": [], "slug": "billy-joel-stevie-nicks-to-play-co-headlining-concert-at-levis-stadium", "title": "Billy Joel, Stevie Nicks to Play Co-Headlining Concert at Levi's Stadium", "publishDate": 1740689250, "format": "standard", "headTitle": "Billy Joel, Stevie Nicks to Play Co-Headlining Concert at Levi’s Stadium | KQED", "labelTerm": { "term": 140, "site": "arts" }, "content": "\u003cp>Billy Joel and Stevie Nicks have announced a co-headlining concert at Levi’s Stadium in Santa Clara on Oct. 4.\u003c/p>\n\u003cp>The two Rock and Roll Hall of Fame inductees are embarking on a “One Night, One Stage” tour, with the Levi’s Stadium show as the only Bay Area appearance. \u003c/p>\n\u003cp>The concert was announced in a press conference outside Levi’s Stadium on Thursday, replete with the 49ers mascot Sourdough Sam and dancers performing a medley of “Uptown Girl” and “Edge of Seventeen.”\u003c/p>\n\u003cfigure id=\"attachment_13972423\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/img_2895_720.jpg\" alt=\"\" width=\"2000\" height=\"1500\" class=\"size-full wp-image-13972423\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/img_2895_720.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/img_2895_720-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/img_2895_720-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/img_2895_720-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/img_2895_720-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/img_2895_720-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/img_2895_720-1920x1440.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A press conference outside Levi’s Stadium on Thursday, Feb. 27, to announce Billy Joel and Stevie Nicks’ Oct. 4 concert. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Joel and Nicks, who have shared the stage in recent years, will perform for the first time at the stadium of the San Francisco 49ers. \u003c/p>\n\u003cp>Tickets will be available to the general public on Friday, March 7 at 10 a.m. A presale for Citi cardmembers starts Monday, March 3 at 10 a.m.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>A representative from Live Nation on-site at Levi’s Stadium Thursday said he was unsure if \u003ca href=\"https://theticketlover.com/what-is-dynamic-pricing-ticketmaster/\">Ticketmaster’s dynamic pricing\u003c/a> would be in place for the onsale. \u003c/p>\n\n", "blocks": [], "excerpt": "The two rock icons perform together in the Bay Area on Oct. 4.", "status": "publish", "parent": 0, "modified": 1740689250, "stats": { "hasAudio": false, "hasVideo": false, "hasChartOrMap": false, "iframeSrcs": [], "hasGoogleForm": false, "hasGallery": false, "hasHearkenModule": false, "hasPolis": false, "paragraphCount": 8, "wordCount": 205 }, "headData": { "title": "Billy Joel, Stevie Nicks to Play Co-Headlining Concert at Levi's Stadium | KQED", "description": "The two rock icons perform together in the Bay Area on Oct. 4.", "ogTitle": "", "ogDescription": "", "ogImgId": "", "twTitle": "", "twDescription": "", "twImgId": "", "schema": { "@context": "http://schema.org", "@type": "Article", "headline": "Billy Joel, Stevie Nicks to Play Co-Headlining Concert at Levi's Stadium", "datePublished": "2025-02-27T12:47:30-08:00", "dateModified": "2025-02-27T12:47:30-08:00", "image": "https://cdn.kqed.org/wp-content/uploads/2020/02/[email protected]" } }, "sticky": false, "nprStoryId": "kqed-13972419", "templateType": "standard", "featuredImageType": "standard", "excludeFromSiteSearch": "Include", "articleAge": "0", "path": "/arts/13972419/billy-joel-stevie-nicks-to-play-co-headlining-concert-at-levis-stadium", "audioTrackLength": null, "parsedContent": [ { "type": "contentString", "content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Billy Joel and Stevie Nicks have announced a co-headlining concert at Levi’s Stadium in Santa Clara on Oct. 4.\u003c/p>\n\u003cp>The two Rock and Roll Hall of Fame inductees are embarking on a “One Night, One Stage” tour, with the Levi’s Stadium show as the only Bay Area appearance. \u003c/p>\n\u003cp>The concert was announced in a press conference outside Levi’s Stadium on Thursday, replete with the 49ers mascot Sourdough Sam and dancers performing a medley of “Uptown Girl” and “Edge of Seventeen.”\u003c/p>\n\u003cfigure id=\"attachment_13972423\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/img_2895_720.jpg\" alt=\"\" width=\"2000\" height=\"1500\" class=\"size-full wp-image-13972423\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/img_2895_720.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/img_2895_720-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/img_2895_720-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/img_2895_720-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/img_2895_720-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/img_2895_720-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/img_2895_720-1920x1440.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A press conference outside Levi’s Stadium on Thursday, Feb. 27, to announce Billy Joel and Stevie Nicks’ Oct. 4 concert. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Joel and Nicks, who have shared the stage in recent years, will perform for the first time at the stadium of the San Francisco 49ers. \u003c/p>\n\u003cp>Tickets will be available to the general public on Friday, March 7 at 10 a.m. A presale for Citi cardmembers starts Monday, March 3 at 10 a.m.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>", "attributes": { "named": {}, "numeric": [] } }, { "type": "component", "content": "", "name": "ad", "attributes": { "named": { "label": "fullwidth" }, "numeric": [ "fullwidth" ] } }, { "type": "contentString", "content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>A representative from Live Nation on-site at Levi’s Stadium Thursday said he was unsure if \u003ca href=\"https://theticketlover.com/what-is-dynamic-pricing-ticketmaster/\">Ticketmaster’s dynamic pricing\u003c/a> would be in place for the onsale. \u003c/p>\n\n\u003c/div>\u003c/p>", "attributes": { "named": {}, "numeric": [] } } ], "link": "/arts/13972419/billy-joel-stevie-nicks-to-play-co-headlining-concert-at-levis-stadium", "authors": [ "185" ], "programs": [ "arts_140" ], "categories": [ "arts_1", "arts_69", "arts_22313" ], "tags": [ "arts_16908", "arts_585", "arts_4798" ], "featImg": "arts_13972420", "label": "arts_140" }, "arts_13972407": { "type": "posts", "id": "arts_13972407", "meta": { "index": "posts_1716263798", "site": "arts", "id": "13972407", "score": null, "sort": [ 1740675806000 ] }, "guestAuthors": [], "slug": "gene-hackman-obituary", "title": "Gene Hackman, Found Dead at 95, Was One of Hollywood’s Most Respected Actors", "publishDate": 1740675806, "format": "standard", "headTitle": "Gene Hackman, Found Dead at 95, Was One of Hollywood’s Most Respected Actors | KQED", "labelTerm": { "site": "arts" }, "content": "\u003cp>Gene Hackman, the prolific Oscar-winning actor whose studied portraits ranged from reluctant heroes to conniving villains and made him one of the industry’s most respected and honored performers, has been found dead along with his wife at their home. He was 95.\u003c/p>\n\u003cp>Hackman was a frequent and versatile presence on screen from the 1960s until his retirement. His dozens of films included the Academy Award favorites \u003ci>The French Connection\u003c/i> and \u003ci>Unforgiven\u003c/i>, a breakout performance in \u003ci>Bonnie and Clyde\u003c/i>, a classic bit of farce in \u003ci>Young Frankenstein\u003c/i>, a turn as the comic book villain Lex Luthor in \u003ci>Superman\u003c/i> and the title character in Wes Anderson’s 2001 \u003ci>The Royal Tenenbaums\u003c/i>.\u003c/p>\n\u003cp>[aside postID='arts_13972343']He seemed capable of any kind of role — whether an uptight buffoon in \u003ci>Birdcage\u003c/i>, a college coach finding redemption in the sentimental favorite \u003ci>Hoosiers\u003c/i> or a secretive surveillance expert in Francis Ford Coppola’s Watergate-era release \u003ci>The Conversation\u003c/i>.\u003c/p>\n\u003cp>“Gene Hackman a great actor, inspiring and magnificent in his work and complexity,” Coppola said on Instagram. “I mourn his loss, and celebrate his existence and contribution.”\u003c/p>\n\u003cp>Although self-effacing and unfashionable, Hackman held special status within Hollywood heir to Spencer Tracy as an everyman, actor’s actor, curmudgeon and reluctant celebrity. He embodied the ethos of doing his job, doing it very well, and letting others worry about his image. Beyond the obligatory appearances at awards ceremonies, he was rarely seen on the social circuit and made no secret of his disdain for the business side of show business.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Actors tend to be shy people,” he told \u003ci>Film Comment\u003c/i> in 1988. “There is perhaps a component of hostility in that shyness, and to reach a point where you don’t deal with others in a hostile or angry way, you choose this medium for yourself. … Then you can express yourself and get this wonderful feedback.”\u003c/p>\n\u003cp>https://youtu.be/IL-_pNnEuk8?feature=shared\u003c/p>\n\u003ch2>A late but promising start\u003c/h2>\n\u003cp>He was an early retiree — essentially done, by choice, with movies by his mid-70s — and a late bloomer. Hackman was 35 when cast for \u003ci>Bonnie and Clyde\u003c/i> and past 40 when he won his first Oscar, as the rules-bending New York City detective Jimmy “Popeye” Doyle in the 1971 thriller about tracking down Manhattan drug smugglers, \u003ci>The French Connection\u003c/i>.\u003c/p>\n\u003cp>Jackie Gleason, Steve McQueen and Peter Boyle were among the actors considered for Doyle. Hackman was a minor star at the time, seemingly without the flamboyant personality that the role demanded, and in fear he was miscast. A couple of weeks of nighttime police patrols in Harlem helped reassure him.\u003c/p>\n\u003cp>[aside postID='arts_13932745']One of the first scenes of \u003ci>The French Connection\u003c/i> required Hackman to slap around a suspect. The actor realized he had failed to achieve the intensity that the scene required, and asked director \u003ca href=\"https://www.kqed.org/arts/13932745/william-friedkin-oscar-winning-director-of-the-exorcist-and-the-french-connection-dies-at-87\">William Friedkin\u003c/a> for another chance. The scene was filmed at the end of the shooting, by which time Hackman had immersed himself in his loose-cannon character. Friedkin would recall needing 37 takes to get the scene right.\u003c/p>\n\u003cp>“I had to arouse an anger in Gene that was lying dormant, I felt, within him — that he was sort of ashamed of and didn’t really want to revisit,” Friedkin told the \u003ci>Los Angeles Review of Books\u003c/i> in 2012.\u003c/p>\n\u003cp>https://youtu.be/XeT-GPcxkXs?feature=shared\u003c/p>\n\u003cp>The \u003ca href=\"https://youtu.be/XeT-GPcxkXs?feature=shared\">most famous sequence\u003c/a> was dangerously realistic: A car chase in which Det. Doyle speeds under elevated subway tracks, his brown Pontiac (driven by a stuntman) screeching into areas that the filmmakers had not received permits for. When Doyle crashes into a white Ford, it wasn’t a stuntman driving the other car, but a New York City resident who didn’t know a movie was being made.\u003c/p>\n\u003ch2>Reluctant role reaps reward\u003c/h2>\n\u003cp>Hackman also resisted the role which brought him his second Oscar. When Clint Eastwood first offered him Little Bill Daggett, the corrupt town boss in \u003ci>Unforgiven\u003c/i>, Hackman turned it down. But he realized that Eastwood was planning to make a different kind of Western, a critique, not a celebration of violence. The film won him the Academy Award as best supporting actor of 1992.\u003c/p>\n\u003cp>“To his credit, and my joy, he talked me into it,” Hackman said of Eastwood during an interview with the American Film Institute.\u003c/p>\n\u003cp>Eugene Allen Hackman was born in San Bernardino, California, and grew up in Danville, Illinois, where his father worked as a pressman for the \u003ci>Commercial-News\u003c/i>. His parents fought repeatedly, and his father often used his fists on Gene to take out his rage. The boy found refuge in movie houses, identifying with such screen rebels as Errol Flynn and James Cagney as his role models.\u003c/p>\n\u003cp>When Gene was 13, his father waved goodbye and drove off, never to return. The abandonment left lasting scars. His mother had become an alcoholic and was constantly at odds with her mother, with whom the shattered family lived (Gene had a younger brother, actor Richard Hackman). At 16, he “suddenly got the itch to get out.” Lying about his age, he enlisted in the U.S. Marines.\u003c/p>\n\u003cp>“Dysfunctional families have sired a lot of pretty good actors,” he observed ironically during a 2001 interview with \u003ci>The New York Times\u003c/i>.\u003c/p>\n\u003ch2>Nomadic career path leads to stage\u003c/h2>\n\u003cp>His brawling and resistance to authority led to his being demoted from corporal three times. His taste for show business was whetted when he conquered his mic fright and became disc jockey and news announcer on his unit’s radio station.\u003c/p>\n\u003cp>With a high school degree he earned during his time as a Marine, Hackman enrolled in journalism at the University of Illinois. He dropped out after six months to study radio announcing in New York. After working at stations in Florida and his hometown of Danville, he returned to New York to study painting at the Art Students League. Hackman switched again to enter an acting course at the Pasadena Playhouse.\u003c/p>\n\u003cp>Back in New York, he found work as a doorman and truck driver among other jobs waiting for a break as an actor, sweating it out with such fellow hopefuls as Robert Duvall and Dustin Hoffman. Summer work at a theater on Long Island led to roles off-Broadway and Hackman began attracting attention from Broadway producers. He received good notices in such plays as \u003ci>Any Wednesday\u003c/i>, with Sandy Dennis, and \u003ci>Poor Richard\u003c/i>, with Alan Bates.\u003c/p>\n\u003cp>During a tryout in New Haven for another play, Hackman was seen by film director Robert Rossen, who hired him for a brief role in \u003ci>Lilith\u003c/i>, which starred Warren Beatty and Jean Seberg. He played small roles in other films, including \u003ci>Hawaii\u003c/i>, and leads in television dramas of the early 1960s such as \u003ci>The Defenders\u003c/i> and \u003ci>Naked City\u003c/i>, before Beatty helped change his career.\u003c/p>\n\u003cp>When Beatty began work on \u003ci>Bonnie and Clyde\u003c/i>, which he produced and starred in, he remembered Hackman and cast him as bank robber Clyde Barrow’s outgoing brother. Pauline Kael in \u003ci>The New Yorker\u003c/i> called Hackman’s work “a beautifully controlled performance, the best in the film,” and he was nominated for an Academy Award as supporting actor.\u003c/p>\n\u003ch2>Near misses and a star-making turn\u003c/h2>\n\u003cp>Hackman nearly appeared in another immortal film of 1967, \u003ci>The Graduate\u003c/i>. He was supposed to play the cuckolded husband of Mrs. Robinson (Anne Bancroft), but director Mike Nichols decided he was too young and replaced him with Murray Hamilton. Two years later, he was considered for what became one of television’s most famous roles, patriarch Mike Brady of \u003ci>The Brady Bunch\u003c/i>. Producer Sherwood Schwartz wanted Hackman to audition, but network executives thought he was too obscure. (The part went to Robert Reed).\u003c/p>\n\u003cp>Hackman’s first starring film role came in 1970 with \u003ci>I Never Sang for My Father\u003c/i>, as a man struggling to deal with a failed relationship with his dying father, Melvyn Douglas. Because of Hackman’s distress over his own father, he resisted connecting to the role.\u003c/p>\n\u003cp>In his 2001 \u003ci>Times\u003c/i> interview, he recalled: “Douglas told me, ‘Gene, you’ll never get what you want with the way you’re acting.’ And he didn’t mean acting; he meant I was not behaving myself. He taught me not to use my reservations as an excuse for not doing the job.” Even though he had the central part, Hackman was Oscar-nominated as supporting actor and Douglas as lead. The following year he won the Oscar as best actor for \u003ci>The French Connection\u003c/i>.\u003c/p>\n\u003cp>Through the years, Hackman kept working, in pictures good and bad. For a time he seemed to be in a contest with Michael Caine for the world’s busiest Oscar winner. In 2001 alone, he appeared in \u003ci>The Mexican\u003c/i>, \u003ci>Heartbreakers\u003c/i>, \u003ci>Heist\u003c/i>, \u003ci>The Royal Tenenbaums\u003c/i> and \u003ci>Behind Enemy Lines\u003c/i>. But by 2004, he was openly talking about retirement, telling Larry King he had no projects lined up. His only credit in recent years was narrating a Smithsonian Channel documentary, \u003ci>The Unknown Flag Raiser of Iwo Jima\u003c/i>.\u003c/p>\n\u003cp>In 1956, Hackman married Fay Maltese, a bank teller he had met at a YMCA dance in New York. They had a son, Christopher, and two daughters, Elizabeth and Leslie, but divorced in the mid-1980s. In 1991 he married Betsy Arakawa, a classical pianist.\u003c/p>\n\u003cp>When not on film locations, Hackman enjoyed painting, stunt flying, stock car racing and deep sea diving. In his latter years, he wrote novels and lived on his ranch in Santa Fe, New Mexico, on a hilltop looking out on the Colorado Rockies, a view he preferred to his films that popped up on television.\u003c/p>\n\u003cp>“I’ll watch maybe five minutes of it,” he once told \u003ci>Time\u003c/i> magazine, “and I’ll get this icky feeling, and I turn the channel.”\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>Entertainment writer Andrew Dalton in Los Angeles contributed to this report. Bob Thomas, a longtime Associated Press journalist who died in 2014, compiled biographical material for this obituary.\u003c/i>\u003c/p>\n\n", "blocks": [], "excerpt": "The Oscar-winning actor and star of ‘The French Connection’ was found dead at his home with his wife and dog.", "status": "publish", "parent": 0, "modified": 1740676360, "stats": { "hasAudio": false, "hasVideo": false, "hasChartOrMap": false, "iframeSrcs": [], "hasGoogleForm": false, "hasGallery": false, "hasHearkenModule": false, "hasPolis": false, "paragraphCount": 31, "wordCount": 1701 }, "headData": { "title": "Gene Hackman, Oscar-Winning Actor, Found Dead at 95 | KQED", "description": "The Oscar-winning actor and star of ‘The French Connection’ was found dead at his home with his wife and dog.", "ogTitle": "Gene Hackman, Found Dead at 95, Was One of Hollywood’s Most Respected Actors", "ogDescription": "", "ogImgId": "", "twTitle": "Gene Hackman, Found Dead at 95, Was One of Hollywood’s Most Respected Actors", "twDescription": "", "twImgId": "", "socialTitle": "Gene Hackman, Oscar-Winning Actor, Found Dead at 95 %%page%% %%sep%% KQED", "schema": { "@context": "http://schema.org", "@type": "Article", "headline": "Gene Hackman, Found Dead at 95, Was One of Hollywood’s Most Respected Actors", "datePublished": "2025-02-27T09:03:26-08:00", "dateModified": "2025-02-27T09:12:40-08:00", "image": "https://cdn.kqed.org/wp-content/uploads/2020/02/[email protected]" } }, "sticky": false, "nprByline": "Hillel Italie, Associate Press", "nprStoryId": "kqed-13972407", "templateType": "standard", "featuredImageType": "standard", "excludeFromSiteSearch": "Include", "showOnAuthorArchivePages": "No", "articleAge": "0", "path": "/arts/13972407/gene-hackman-obituary", "audioTrackLength": null, "parsedContent": [ { "type": "contentString", "content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Gene Hackman, the prolific Oscar-winning actor whose studied portraits ranged from reluctant heroes to conniving villains and made him one of the industry’s most respected and honored performers, has been found dead along with his wife at their home. He was 95.\u003c/p>\n\u003cp>Hackman was a frequent and versatile presence on screen from the 1960s until his retirement. His dozens of films included the Academy Award favorites \u003ci>The French Connection\u003c/i> and \u003ci>Unforgiven\u003c/i>, a breakout performance in \u003ci>Bonnie and Clyde\u003c/i>, a classic bit of farce in \u003ci>Young Frankenstein\u003c/i>, a turn as the comic book villain Lex Luthor in \u003ci>Superman\u003c/i> and the title character in Wes Anderson’s 2001 \u003ci>The Royal Tenenbaums\u003c/i>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>", "attributes": { "named": {}, "numeric": [] } }, { "type": "component", "content": "", "name": "aside", "attributes": { "named": { "postid": "arts_13972343", "label": "" }, "numeric": [] } }, { "type": "contentString", "content": "\u003cdiv class=\"post-body\">\u003cp>He seemed capable of any kind of role — whether an uptight buffoon in \u003ci>Birdcage\u003c/i>, a college coach finding redemption in the sentimental favorite \u003ci>Hoosiers\u003c/i> or a secretive surveillance expert in Francis Ford Coppola’s Watergate-era release \u003ci>The Conversation\u003c/i>.\u003c/p>\n\u003cp>“Gene Hackman a great actor, inspiring and magnificent in his work and complexity,” Coppola said on Instagram. “I mourn his loss, and celebrate his existence and contribution.”\u003c/p>\n\u003cp>Although self-effacing and unfashionable, Hackman held special status within Hollywood heir to Spencer Tracy as an everyman, actor’s actor, curmudgeon and reluctant celebrity. He embodied the ethos of doing his job, doing it very well, and letting others worry about his image. Beyond the obligatory appearances at awards ceremonies, he was rarely seen on the social circuit and made no secret of his disdain for the business side of show business.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>", "attributes": { "named": {}, "numeric": [] } }, { "type": "component", "content": "", "name": "ad", "attributes": { "named": { "label": "fullwidth" }, "numeric": [ "fullwidth" ] } }, { "type": "contentString", "content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Actors tend to be shy people,” he told \u003ci>Film Comment\u003c/i> in 1988. “There is perhaps a component of hostility in that shyness, and to reach a point where you don’t deal with others in a hostile or angry way, you choose this medium for yourself. … Then you can express yourself and get this wonderful feedback.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/IL-_pNnEuk8'\n title='//www.youtube.com/embed/IL-_pNnEuk8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>A late but promising start\u003c/h2>\n\u003cp>He was an early retiree — essentially done, by choice, with movies by his mid-70s — and a late bloomer. Hackman was 35 when cast for \u003ci>Bonnie and Clyde\u003c/i> and past 40 when he won his first Oscar, as the rules-bending New York City detective Jimmy “Popeye” Doyle in the 1971 thriller about tracking down Manhattan drug smugglers, \u003ci>The French Connection\u003c/i>.\u003c/p>\n\u003cp>Jackie Gleason, Steve McQueen and Peter Boyle were among the actors considered for Doyle. Hackman was a minor star at the time, seemingly without the flamboyant personality that the role demanded, and in fear he was miscast. A couple of weeks of nighttime police patrols in Harlem helped reassure him.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>", "attributes": { "named": {}, "numeric": [] } }, { "type": "component", "content": "", "name": "aside", "attributes": { "named": { "postid": "arts_13932745", "label": "" }, "numeric": [] } }, { "type": "contentString", "content": "\u003cdiv class=\"post-body\">\u003cp>One of the first scenes of \u003ci>The French Connection\u003c/i> required Hackman to slap around a suspect. The actor realized he had failed to achieve the intensity that the scene required, and asked director \u003ca href=\"https://www.kqed.org/arts/13932745/william-friedkin-oscar-winning-director-of-the-exorcist-and-the-french-connection-dies-at-87\">William Friedkin\u003c/a> for another chance. The scene was filmed at the end of the shooting, by which time Hackman had immersed himself in his loose-cannon character. Friedkin would recall needing 37 takes to get the scene right.\u003c/p>\n\u003cp>“I had to arouse an anger in Gene that was lying dormant, I felt, within him — that he was sort of ashamed of and didn’t really want to revisit,” Friedkin told the \u003ci>Los Angeles Review of Books\u003c/i> in 2012.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/XeT-GPcxkXs'\n title='//www.youtube.com/embed/XeT-GPcxkXs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The \u003ca href=\"https://youtu.be/XeT-GPcxkXs?feature=shared\">most famous sequence\u003c/a> was dangerously realistic: A car chase in which Det. Doyle speeds under elevated subway tracks, his brown Pontiac (driven by a stuntman) screeching into areas that the filmmakers had not received permits for. When Doyle crashes into a white Ford, it wasn’t a stuntman driving the other car, but a New York City resident who didn’t know a movie was being made.\u003c/p>\n\u003ch2>Reluctant role reaps reward\u003c/h2>\n\u003cp>Hackman also resisted the role which brought him his second Oscar. When Clint Eastwood first offered him Little Bill Daggett, the corrupt town boss in \u003ci>Unforgiven\u003c/i>, Hackman turned it down. But he realized that Eastwood was planning to make a different kind of Western, a critique, not a celebration of violence. The film won him the Academy Award as best supporting actor of 1992.\u003c/p>\n\u003cp>“To his credit, and my joy, he talked me into it,” Hackman said of Eastwood during an interview with the American Film Institute.\u003c/p>\n\u003cp>Eugene Allen Hackman was born in San Bernardino, California, and grew up in Danville, Illinois, where his father worked as a pressman for the \u003ci>Commercial-News\u003c/i>. His parents fought repeatedly, and his father often used his fists on Gene to take out his rage. The boy found refuge in movie houses, identifying with such screen rebels as Errol Flynn and James Cagney as his role models.\u003c/p>\n\u003cp>When Gene was 13, his father waved goodbye and drove off, never to return. The abandonment left lasting scars. His mother had become an alcoholic and was constantly at odds with her mother, with whom the shattered family lived (Gene had a younger brother, actor Richard Hackman). At 16, he “suddenly got the itch to get out.” Lying about his age, he enlisted in the U.S. Marines.\u003c/p>\n\u003cp>“Dysfunctional families have sired a lot of pretty good actors,” he observed ironically during a 2001 interview with \u003ci>The New York Times\u003c/i>.\u003c/p>\n\u003ch2>Nomadic career path leads to stage\u003c/h2>\n\u003cp>His brawling and resistance to authority led to his being demoted from corporal three times. His taste for show business was whetted when he conquered his mic fright and became disc jockey and news announcer on his unit’s radio station.\u003c/p>\n\u003cp>With a high school degree he earned during his time as a Marine, Hackman enrolled in journalism at the University of Illinois. He dropped out after six months to study radio announcing in New York. After working at stations in Florida and his hometown of Danville, he returned to New York to study painting at the Art Students League. Hackman switched again to enter an acting course at the Pasadena Playhouse.\u003c/p>\n\u003cp>Back in New York, he found work as a doorman and truck driver among other jobs waiting for a break as an actor, sweating it out with such fellow hopefuls as Robert Duvall and Dustin Hoffman. Summer work at a theater on Long Island led to roles off-Broadway and Hackman began attracting attention from Broadway producers. He received good notices in such plays as \u003ci>Any Wednesday\u003c/i>, with Sandy Dennis, and \u003ci>Poor Richard\u003c/i>, with Alan Bates.\u003c/p>\n\u003cp>During a tryout in New Haven for another play, Hackman was seen by film director Robert Rossen, who hired him for a brief role in \u003ci>Lilith\u003c/i>, which starred Warren Beatty and Jean Seberg. He played small roles in other films, including \u003ci>Hawaii\u003c/i>, and leads in television dramas of the early 1960s such as \u003ci>The Defenders\u003c/i> and \u003ci>Naked City\u003c/i>, before Beatty helped change his career.\u003c/p>\n\u003cp>When Beatty began work on \u003ci>Bonnie and Clyde\u003c/i>, which he produced and starred in, he remembered Hackman and cast him as bank robber Clyde Barrow’s outgoing brother. Pauline Kael in \u003ci>The New Yorker\u003c/i> called Hackman’s work “a beautifully controlled performance, the best in the film,” and he was nominated for an Academy Award as supporting actor.\u003c/p>\n\u003ch2>Near misses and a star-making turn\u003c/h2>\n\u003cp>Hackman nearly appeared in another immortal film of 1967, \u003ci>The Graduate\u003c/i>. He was supposed to play the cuckolded husband of Mrs. Robinson (Anne Bancroft), but director Mike Nichols decided he was too young and replaced him with Murray Hamilton. Two years later, he was considered for what became one of television’s most famous roles, patriarch Mike Brady of \u003ci>The Brady Bunch\u003c/i>. Producer Sherwood Schwartz wanted Hackman to audition, but network executives thought he was too obscure. (The part went to Robert Reed).\u003c/p>\n\u003cp>Hackman’s first starring film role came in 1970 with \u003ci>I Never Sang for My Father\u003c/i>, as a man struggling to deal with a failed relationship with his dying father, Melvyn Douglas. Because of Hackman’s distress over his own father, he resisted connecting to the role.\u003c/p>\n\u003cp>In his 2001 \u003ci>Times\u003c/i> interview, he recalled: “Douglas told me, ‘Gene, you’ll never get what you want with the way you’re acting.’ And he didn’t mean acting; he meant I was not behaving myself. He taught me not to use my reservations as an excuse for not doing the job.” Even though he had the central part, Hackman was Oscar-nominated as supporting actor and Douglas as lead. The following year he won the Oscar as best actor for \u003ci>The French Connection\u003c/i>.\u003c/p>\n\u003cp>Through the years, Hackman kept working, in pictures good and bad. For a time he seemed to be in a contest with Michael Caine for the world’s busiest Oscar winner. In 2001 alone, he appeared in \u003ci>The Mexican\u003c/i>, \u003ci>Heartbreakers\u003c/i>, \u003ci>Heist\u003c/i>, \u003ci>The Royal Tenenbaums\u003c/i> and \u003ci>Behind Enemy Lines\u003c/i>. But by 2004, he was openly talking about retirement, telling Larry King he had no projects lined up. His only credit in recent years was narrating a Smithsonian Channel documentary, \u003ci>The Unknown Flag Raiser of Iwo Jima\u003c/i>.\u003c/p>\n\u003cp>In 1956, Hackman married Fay Maltese, a bank teller he had met at a YMCA dance in New York. They had a son, Christopher, and two daughters, Elizabeth and Leslie, but divorced in the mid-1980s. In 1991 he married Betsy Arakawa, a classical pianist.\u003c/p>\n\u003cp>When not on film locations, Hackman enjoyed painting, stunt flying, stock car racing and deep sea diving. In his latter years, he wrote novels and lived on his ranch in Santa Fe, New Mexico, on a hilltop looking out on the Colorado Rockies, a view he preferred to his films that popped up on television.\u003c/p>\n\u003cp>“I’ll watch maybe five minutes of it,” he once told \u003ci>Time\u003c/i> magazine, “and I’ll get this icky feeling, and I turn the channel.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>", "attributes": { "named": {}, "numeric": [] } }, { "type": "component", "content": "", "name": "ad", "attributes": { "named": { "label": "floatright" }, "numeric": [ "floatright" ] } }, { "type": "contentString", "content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>Entertainment writer Andrew Dalton in Los Angeles contributed to this report. Bob Thomas, a longtime Associated Press journalist who died in 2014, compiled biographical material for this obituary.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>", "attributes": { "named": {}, "numeric": [] } } ], "link": "/arts/13972407/gene-hackman-obituary", "authors": [ "byline_arts_13972407" ], "categories": [ "arts_1", "arts_74", "arts_1564" ], "tags": [ "arts_977", "arts_1091", "arts_21789", "arts_22041" ], "featImg": "arts_13972412", "label": "arts" }, "arts_13972374": { "type": "posts", "id": "arts_13972374", "meta": { "index": "posts_1716263798", "site": "arts", "id": "13972374", "score": null, "sort": [ 1740668407000 ] }, "guestAuthors": [], "slug": "david-lynch-retrospective-roxie-theater", "title": "The Roxie Honors the Late, Great David Lynch with a Retrospective", "publishDate": 1740668407, "format": "standard", "headTitle": "The Roxie Honors the Late, Great David Lynch with a Retrospective | KQED", "labelTerm": { "term": 140, "site": "arts" }, "content": "\u003cp>Few filmmakers’ names turn into adjectives. But so distinctive is David Lynch’s feature-length work — with his noir visuals, unsettling narratives, stutter-step pacing and ethereal soundtracks — that we now use “Lynchian” to describe all manner of strange stuff, both real and fictionalized.\u003c/p>\n\u003cp>Since his death on Jan. 16, David Lynch tribute programs have popped up across the Bay Area, but the Roxie’s concentrated “\u003ca href=\"https://roxie.com/series/in-dreams-a-tribute-to-david-lynch/\">In Dreams\u003c/a>” retrospective, playing March 6–13, packs eight films into eight days, with multiple screenings of many. Which leads me to wonder, what would happen to someone who watches all the films back to back?\u003c/p>\n\u003cp>“Well, I think they’ll be more connected to reality, to be honest,” says Isabel Fondevila, the Roxie’s director of programming and curator of the retrospective. \u003c/p>\n\u003cfigure id=\"attachment_13972389\" class=\"wp-caption aligncenter\" style=\"max-width: 1080px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/1-2.jpg\" alt=\"newsletter clipping with text and images of films\" width=\"1080\" height=\"1350\" class=\"size-full wp-image-13972389\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/1-2.jpg 1080w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/1-2-800x1000.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/1-2-1020x1275.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/1-2-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/1-2-768x960.jpg 768w\" sizes=\"auto, (max-width: 1080px) 100vw, 1080px\">\u003cfigcaption class=\"wp-caption-text\">A clip from the Roxie newsletter announcing the end of ‘Eraserhead’s original run at the theater. \u003ccite>(Courtesy of the Roxie)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Audiences must see \u003ci>\u003ca href=\"https://roxie.com/film/eraserhead/\">Eraserhead\u003c/a>\u003c/i>, she insists, Lynch’s self-described “dream of dark and troubling things,” his debut black-and-white feature about a distinctively coiffed man experiencing the horrors of work, parenthood and in-laws. After it premiered in 1977, \u003ci>Eraserhead\u003c/i> achieved fame as a midnight film in New York and Los Angeles theaters; the Roxie hosted it from 1978 to 1979.\u003c/p>\n\u003cp>“It was huge,” Fondevila says. “It’s a really really important film for the Roxie.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The March 6 and 11 retrospective screenings of \u003ci>Eraserhead\u003c/i> will be extra special, she notes, because they reunite the feature with Suzan Pitt’s avant-garde animated short \u003ci>\u003ca href=\"https://www.suzanpitt.com/asparagus\">Asparagus\u003c/a>\u003c/i>, which played before it at many of the midnight shows. “It feels like you’re stepping into someone else’s subconscious,” she says of Pitt’s 1979 short. “Just going from that super colorful \u003ci>Asparagus\u003c/i> and then \u003ci>Eraserhead\u003c/i>? It’s got to be a trip, really. I can’t wait.”\u003c/p>\n\u003cfigure id=\"attachment_13972395\" class=\"wp-caption aligncenter\" style=\"max-width: 1860px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Wild-at-Heart-HERO.jpg\" alt=\"white woman kisses a man while standing in a car\" width=\"1860\" height=\"1044\" class=\"size-full wp-image-13972395\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Wild-at-Heart-HERO.jpg 1860w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Wild-at-Heart-HERO-800x449.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Wild-at-Heart-HERO-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Wild-at-Heart-HERO-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Wild-at-Heart-HERO-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Wild-at-Heart-HERO-1536x862.jpg 1536w\" sizes=\"auto, (max-width: 1860px) 100vw, 1860px\">\u003cfigcaption class=\"wp-caption-text\">Laura Dern and Nicolas Cage in ‘Wild at Heart,’ 1990. \u003ccite>(Courtesy of the Roxie)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There’s no one way to approach the program, Fondevila says: “You can do anything you want with Lynch.”\u003c/p>\n\u003cp>I do have some highlights to note, for your planning purposes. Barry Gifford, co-screenwriter of 1997’s \u003ci>\u003ca href=\"https://roxie.com/film/lost-highway/\">Lost Highway\u003c/a>\u003c/i>, will appear for a post-film conversation at the March 8 screening. The March 7 screening of \u003ci>\u003ca href=\"https://roxie.com/film/wild-at-heart/\">Wild at Heart\u003c/a>\u003c/i> (adapted from a Gifford book), featuring young Nicolas Cage and Laura Dern as couple-on-the-run Sailor and Lula, opens with a “wild” drag show featuring Lil King Milk and Vivica Bea Roadkill. And \u003ci>Eraserhead\u003c/i>, \u003ci>\u003ca href=\"https://roxie.com/film/mulholland-dr/\">Mulholland Dr.\u003c/a>\u003c/i> and \u003ci>\u003ca href=\"https://roxie.com/film/dune-35mm/\">Dune\u003c/a>\u003c/i> are all showing on 35mm.\u003c/p>\n\u003cp>(With Denis Villeneuve’s \u003ci>Dune\u003c/i> films in our recent memory, Fondevila points out, it will be interesting to revisit Lynch’s take on Frank Herbert’s sci-fi.)\u003c/p>\n\u003cfigure id=\"attachment_13972397\" class=\"wp-caption aligncenter\" style=\"max-width: 1440px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/dune.jpg\" alt=\"white woman and young man in sci-fi attire\" width=\"1440\" height=\"810\" class=\"size-full wp-image-13972397\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/dune.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/dune-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/dune-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/dune-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/dune-768x432.jpg 768w\" sizes=\"auto, (max-width: 1440px) 100vw, 1440px\">\u003cfigcaption class=\"wp-caption-text\">Francesca Annis and Kyle MacLachlan in David Lynch’s ‘Dune,’ 1984. \u003ccite>(Courtesy of the Roxie)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Die-hard completists will have to seek out \u003ci>The Elephant Man\u003c/i>, \u003ci>Twin Peaks: Fire Walk With Me\u003c/i> and \u003ci>The Straight Story\u003c/i> elsewhere. The Alamo has organized their own retrospective (coincidentally, also called “\u003ca href=\"https://drafthouse.com/sf/movies/in-dreams-films-of-david-lynch\">In Dreams\u003c/a>”) March 7–April 4, showing every Lynch feature except for \u003ci>The Straight Story\u003c/i>, which seemingly can’t catch a break. \u003c/p>\n\u003cp>Over a month after his death, we are no closer to pinpointing what makes a Lynch film so Lynchian. The word is its own definition. What’s left is for us to bask in the weirdness, celebrate a singular artist and surround ourselves with like-minded devotees.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://roxie.com/series/in-dreams-a-tribute-to-david-lynch/\">In Dreams\u003c/a>’ plays at the Roxie Theater March 6–13, 2025. \u003c/i>\u003c/p>\n\n", "blocks": [], "excerpt": "The Roxie celebrates the singular filmmaker with a curated retrospective of his surreal, unsettling flicks.", "status": "publish", "parent": 0, "modified": 1740621880, "stats": { "hasAudio": false, "hasVideo": false, "hasChartOrMap": false, "iframeSrcs": [], "hasGoogleForm": false, "hasGallery": false, "hasHearkenModule": false, "hasPolis": false, "paragraphCount": 14, "wordCount": 638 }, "headData": { "title": "The Roxie Honors the Late, Great David Lynch with a Retrospective | KQED", "description": "The Roxie celebrates the singular filmmaker with a curated retrospective of his surreal, unsettling flicks.", "ogTitle": "", "ogDescription": "", "ogImgId": "", "twTitle": "", "twDescription": "", "twImgId": "", "schema": { "@context": "http://schema.org", "@type": "Article", "headline": "The Roxie Honors the Late, Great David Lynch with a Retrospective", "datePublished": "2025-02-27T07:00:07-08:00", "dateModified": "2025-02-26T18:04:40-08:00", "image": "https://cdn.kqed.org/wp-content/uploads/2020/02/[email protected]" } }, "sticky": false, "templateType": "standard", "featuredImageType": "standard", "excludeFromSiteSearch": "Include", "articleAge": "0", "path": "/arts/13972374/david-lynch-retrospective-roxie-theater", "audioTrackLength": null, "parsedContent": [ { "type": "contentString", "content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Few filmmakers’ names turn into adjectives. But so distinctive is David Lynch’s feature-length work — with his noir visuals, unsettling narratives, stutter-step pacing and ethereal soundtracks — that we now use “Lynchian” to describe all manner of strange stuff, both real and fictionalized.\u003c/p>\n\u003cp>Since his death on Jan. 16, David Lynch tribute programs have popped up across the Bay Area, but the Roxie’s concentrated “\u003ca href=\"https://roxie.com/series/in-dreams-a-tribute-to-david-lynch/\">In Dreams\u003c/a>” retrospective, playing March 6–13, packs eight films into eight days, with multiple screenings of many. Which leads me to wonder, what would happen to someone who watches all the films back to back?\u003c/p>\n\u003cp>“Well, I think they’ll be more connected to reality, to be honest,” says Isabel Fondevila, the Roxie’s director of programming and curator of the retrospective. \u003c/p>\n\u003cfigure id=\"attachment_13972389\" class=\"wp-caption aligncenter\" style=\"max-width: 1080px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/1-2.jpg\" alt=\"newsletter clipping with text and images of films\" width=\"1080\" height=\"1350\" class=\"size-full wp-image-13972389\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/1-2.jpg 1080w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/1-2-800x1000.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/1-2-1020x1275.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/1-2-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/1-2-768x960.jpg 768w\" sizes=\"auto, (max-width: 1080px) 100vw, 1080px\">\u003cfigcaption class=\"wp-caption-text\">A clip from the Roxie newsletter announcing the end of ‘Eraserhead’s original run at the theater. \u003ccite>(Courtesy of the Roxie)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Audiences must see \u003ci>\u003ca href=\"https://roxie.com/film/eraserhead/\">Eraserhead\u003c/a>\u003c/i>, she insists, Lynch’s self-described “dream of dark and troubling things,” his debut black-and-white feature about a distinctively coiffed man experiencing the horrors of work, parenthood and in-laws. After it premiered in 1977, \u003ci>Eraserhead\u003c/i> achieved fame as a midnight film in New York and Los Angeles theaters; the Roxie hosted it from 1978 to 1979.\u003c/p>\n\u003cp>“It was huge,” Fondevila says. “It’s a really really important film for the Roxie.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>", "attributes": { "named": {}, "numeric": [] } }, { "type": "component", "content": "", "name": "ad", "attributes": { "named": { "label": "fullwidth" }, "numeric": [ "fullwidth" ] } }, { "type": "contentString", "content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The March 6 and 11 retrospective screenings of \u003ci>Eraserhead\u003c/i> will be extra special, she notes, because they reunite the feature with Suzan Pitt’s avant-garde animated short \u003ci>\u003ca href=\"https://www.suzanpitt.com/asparagus\">Asparagus\u003c/a>\u003c/i>, which played before it at many of the midnight shows. “It feels like you’re stepping into someone else’s subconscious,” she says of Pitt’s 1979 short. “Just going from that super colorful \u003ci>Asparagus\u003c/i> and then \u003ci>Eraserhead\u003c/i>? It’s got to be a trip, really. I can’t wait.”\u003c/p>\n\u003cfigure id=\"attachment_13972395\" class=\"wp-caption aligncenter\" style=\"max-width: 1860px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Wild-at-Heart-HERO.jpg\" alt=\"white woman kisses a man while standing in a car\" width=\"1860\" height=\"1044\" class=\"size-full wp-image-13972395\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Wild-at-Heart-HERO.jpg 1860w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Wild-at-Heart-HERO-800x449.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Wild-at-Heart-HERO-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Wild-at-Heart-HERO-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Wild-at-Heart-HERO-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Wild-at-Heart-HERO-1536x862.jpg 1536w\" sizes=\"auto, (max-width: 1860px) 100vw, 1860px\">\u003cfigcaption class=\"wp-caption-text\">Laura Dern and Nicolas Cage in ‘Wild at Heart,’ 1990. \u003ccite>(Courtesy of the Roxie)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There’s no one way to approach the program, Fondevila says: “You can do anything you want with Lynch.”\u003c/p>\n\u003cp>I do have some highlights to note, for your planning purposes. Barry Gifford, co-screenwriter of 1997’s \u003ci>\u003ca href=\"https://roxie.com/film/lost-highway/\">Lost Highway\u003c/a>\u003c/i>, will appear for a post-film conversation at the March 8 screening. The March 7 screening of \u003ci>\u003ca href=\"https://roxie.com/film/wild-at-heart/\">Wild at Heart\u003c/a>\u003c/i> (adapted from a Gifford book), featuring young Nicolas Cage and Laura Dern as couple-on-the-run Sailor and Lula, opens with a “wild” drag show featuring Lil King Milk and Vivica Bea Roadkill. And \u003ci>Eraserhead\u003c/i>, \u003ci>\u003ca href=\"https://roxie.com/film/mulholland-dr/\">Mulholland Dr.\u003c/a>\u003c/i> and \u003ci>\u003ca href=\"https://roxie.com/film/dune-35mm/\">Dune\u003c/a>\u003c/i> are all showing on 35mm.\u003c/p>\n\u003cp>(With Denis Villeneuve’s \u003ci>Dune\u003c/i> films in our recent memory, Fondevila points out, it will be interesting to revisit Lynch’s take on Frank Herbert’s sci-fi.)\u003c/p>\n\u003cfigure id=\"attachment_13972397\" class=\"wp-caption aligncenter\" style=\"max-width: 1440px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/dune.jpg\" alt=\"white woman and young man in sci-fi attire\" width=\"1440\" height=\"810\" class=\"size-full wp-image-13972397\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/dune.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/dune-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/dune-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/dune-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/dune-768x432.jpg 768w\" sizes=\"auto, (max-width: 1440px) 100vw, 1440px\">\u003cfigcaption class=\"wp-caption-text\">Francesca Annis and Kyle MacLachlan in David Lynch’s ‘Dune,’ 1984. \u003ccite>(Courtesy of the Roxie)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Die-hard completists will have to seek out \u003ci>The Elephant Man\u003c/i>, \u003ci>Twin Peaks: Fire Walk With Me\u003c/i> and \u003ci>The Straight Story\u003c/i> elsewhere. The Alamo has organized their own retrospective (coincidentally, also called “\u003ca href=\"https://drafthouse.com/sf/movies/in-dreams-films-of-david-lynch\">In Dreams\u003c/a>”) March 7–April 4, showing every Lynch feature except for \u003ci>The Straight Story\u003c/i>, which seemingly can’t catch a break. \u003c/p>\n\u003cp>Over a month after his death, we are no closer to pinpointing what makes a Lynch film so Lynchian. The word is its own definition. What’s left is for us to bask in the weirdness, celebrate a singular artist and surround ourselves with like-minded devotees.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://roxie.com/series/in-dreams-a-tribute-to-david-lynch/\">In Dreams\u003c/a>’ plays at the Roxie Theater March 6–13, 2025. \u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>", "attributes": { "named": {}, "numeric": [] } } ], "link": "/arts/13972374/david-lynch-retrospective-roxie-theater", "authors": [ "61" ], "programs": [ "arts_140" ], "categories": [ "arts_1", "arts_74", "arts_22313" ], "tags": [ "arts_10278", "arts_977", "arts_3163", "arts_585" ], "featImg": "arts_13972391", "label": "arts_140" }, "arts_13972349": { "type": "posts", "id": "arts_13972349", "meta": { "index": "posts_1716263798", "site": "arts", "id": "13972349", "score": null, "sort": [ 1740621747000 ] }, "guestAuthors": [], "slug": "paul-mccartney-photos-review-de-young-san-francisco", "title": "In Paul McCartney’s Photos at the de Young, a Wide-Eyed Look at a Distant America", "publishDate": 1740621747, "format": "standard", "headTitle": "In Paul McCartney’s Photos at the de Young, a Wide-Eyed Look at a Distant America | KQED", "labelTerm": { "term": 140, "site": "arts" }, "content": "\u003cp>We all know, many times over, what Paul McCartney’s ears hear. But what do his eyes see? Specifically, what were his eyes attuned to during the Beatles’ meteoric rise in the early years of the band?\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.famsf.org/exhibitions/paul-mccartney-photographs\">Paul McCartney Photographs 1963–64: Eyes of the Storm\u003c/a>\u003c/em>, on view March 1–July 6, 2025 at the de Young Museum in San Francisco, answers the question with more than 250 recently unearthed photos taken by the famous musician. Perhaps more than anything, the photos in \u003cem>Eyes of the Storm\u003c/em> capture sheer bewilderment — not just at being suddenly thrust onto the global limelight as a teen idol, but at America itself.\u003c/p>\n\u003cp>“We were fascinated with what we were doing and what was happening to us,” McCartney says in the exhibition wall text. “I’ve never lost that sense of wonder.”\u003c/p>\n\u003cfigure id=\"attachment_13972381\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/01.jpg\" alt=\"\" width=\"2000\" height=\"1324\" class=\"size-full wp-image-13972381\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/01.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/01-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/01-1020x675.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/01-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/01-768x508.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/01-1536x1017.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/01-1920x1271.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Paul McCartney, ‘Ringo Starr,’ London, January 1964. \u003ccite>(© 1964 Paul McCartney under exclusive license to MPL Archive LLP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>McCartney has also long harbored a sense of earnest silliness, seen in photos of George Harrison wearing a double-decker top hat, Ringo Starr in a Napoleon getup, or John Lennon twisting up his face and picking a fight with a bust by sculptor David Wynne. One photo simply shows an airplane pulling an advertising banner reading “THERE IS ONLY ONE MISTER PANTS”; one can imagine Paul’s youthful amusement as he reaches for his camera.\u003c/p>\n\u003cp>More intimate moments are shown, whether with McCartney’s bandmates or multiple people credited as “unidentified woman backstage.” The regular presence of adults underscores McCartney’s observation that this era’s photos “remind me more of an England that was more my parents’ generation than my own.” One photo of Harrison’s mother in England shows her with silver hair and a decorative brooch, glancing crookedly up to the camera with a look of hesitation.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And then there is the introspective side. Ringo sitting alone with his signature “I’m doing algebra equations in my head” look. John, up close, with chin rested on his knuckles, like a Rodin sculpture. Paul taking selfies in a mirror in Paris, cigarette plunged sideways into his lips, perfecting his cool-guy look. \u003c/p>\n\u003cfigure id=\"attachment_13972383\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/04.jpg\" alt=\"\" width=\"2000\" height=\"450\" class=\"size-full wp-image-13972383\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/04.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/04-800x180.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/04-1020x230.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/04-160x36.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/04-768x173.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/04-1536x346.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/04-1920x432.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Paul McCartney, ‘Self-portraits,’ Paris, January 1964. \u003ccite>(© 1964 Paul McCartney under exclusive license to MPL Archive LLP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If McCartney’s photographs occasionally constitute fine art, it’s likely by mistake. Many are out of focus or amateurishly composed, which of course lends them a relatability — he’s a 21-year-old playing around with his new Pentax single-lens 35mm, after all. For one so committed to the practiced \u003cem>craft\u003c/em> of songwriting (Lennon was always the greater experimentalist), this imprecision is refreshing to see. \u003c/p>\n\u003cp>Sometimes, though, he strikes gold, as in a mirror selfie with a sharp depth of field taken at girlfriend Jane Asher’s house. I stared at length, also, at a silhouette of French model Sophie Hardy in a slinky black dress, smoking stylishly in profile, her tresses bouncing around her perfect jawline, all framed by two lamps in the foreground. \u003c/p>\n\u003cp>Bay Area fans will surely want to know if the show includes photos from the Beatles’ concert at the Cow Palace in 1964. It does not, nor does it cover their \u003ca href=\"https://diva.sfsu.edu/collections/sfbatv/bundles/230750\">return concert at the Cow Palace in 1965\u003c/a> or their \u003ca href=\"https://www.kqed.org/news/144461/mccartneys-candlestick-concert-has-many-remembering-beatlemania\">final commercial concert at Candlestick Park\u003c/a> in 1966. (McCartney had slowed down his photo-taking by then, images of U.S. opening acts the Exciters and Clarence “Frogman” Henry notwithstanding.) \u003c/p>\n\u003cfigure id=\"attachment_13972385\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/06.jpg\" alt=\"\" width=\"2000\" height=\"1370\" class=\"size-full wp-image-13972385\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/06.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/06-800x548.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/06-1020x699.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/06-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/06-768x526.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/06-1536x1052.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/06-1920x1315.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Paul McCartney, ‘West 58th Street, crossing 6th Avenue,’ New York, February 1964. \u003ccite>(© 1964 Paul McCartney under exclusive license to MPL Archive LLP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But the exhibition does successfully transmit the wide-eyed fascination of a young British kid abroad. In New York, before sending tectonic shocks throughout the country by appearing on \u003ci>The Ed Sullivan Show\u003c/i>, McCartney photographed the Chrysler building, neon signs and rooftop water towers. He also captured fans running after the band’s car on W. 58th Street, shot from the back window. (Other images show fans breaking through police barricades or gathered in huge crowds at the airport as Beatlemania tore through the country.)\u003c/p>\n\u003cp>What of the more specific, peculiar objects that caught Paul’s attention? In Washington, D.C., his eye turned to an adult theater marquee promoting a nude film. In Miami, it was a giant Miller High Life billboard. These are post-adolescent interests, but they also represent an interest in America, and the odd way we do things here.\u003c/p>\n\u003cfigure id=\"attachment_13972390\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/11.jpg\" alt=\"\" width=\"2000\" height=\"1437\" class=\"size-full wp-image-13972390\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/11.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/11-800x575.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/11-1020x733.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/11-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/11-768x552.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/11-1536x1104.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/11-1920x1380.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Paul McCartney, ‘Unidentified girl,’ 1964. \u003ccite>(© 1964 Paul McCartney under exclusive license to MPL Archive LLP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In Miami, for example, Paul photographed a motorcycle cop, but just his waist. “We didn’t have armed police officers back home,” he explains in wall text. So, through the shocked eye of McCartney, we see a close-up of a holster and pistol, with six reserve bullets stored along the belt. \u003c/p>\n\u003cp>In innocent, curious photographs like these, taken by a figurehead of the 1960s and a band said to have changed the world, one has to wonder: Has the world really changed that much since? \u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://www.famsf.org/exhibitions/paul-mccartney-photographs\">Paul McCartney Photographs 1963–64: Eyes of the Storm\u003c/a>’ is on view at the de Young Museum March 1–July 6, 2025.\u003c/i>\u003c/p>\n\n", "blocks": [], "excerpt": "Over 250 recently unearthed photos by McCartney show the Beatles at the start of their frenetic fame. ", "status": "publish", "parent": 0, "modified": 1740622774, "stats": { "hasAudio": false, "hasVideo": false, "hasChartOrMap": false, "iframeSrcs": [], "hasGoogleForm": false, "hasGallery": false, "hasHearkenModule": false, "hasPolis": false, "paragraphCount": 16, "wordCount": 919 }, "headData": { "title": "Review: Paul McCartney's Photos at the de Young Show a Distant America | KQED", "description": "Over 250 recently unearthed photos by McCartney show the Beatles at the start of their frenetic fame. ", "ogTitle": "", "ogDescription": "", "ogImgId": "", "twTitle": "", "twDescription": "", "twImgId": "", "socialTitle": "Review: Paul McCartney's Photos at the de Young Show a Distant America %%page%% %%sep%% KQED", "schema": { "@context": "http://schema.org", "@type": "Article", "headline": "In Paul McCartney’s Photos at the de Young, a Wide-Eyed Look at a Distant America", "datePublished": "2025-02-26T18:02:27-08:00", "dateModified": "2025-02-26T18:19:34-08:00", "image": "https://cdn.kqed.org/wp-content/uploads/2020/02/[email protected]" } }, "sticky": false, "nprStoryId": "kqed-13972349", "templateType": "standard", "featuredImageType": "standard", "excludeFromSiteSearch": "Include", "articleAge": "0", "path": "/arts/13972349/paul-mccartney-photos-review-de-young-san-francisco", "audioTrackLength": null, "parsedContent": [ { "type": "contentString", "content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>We all know, many times over, what Paul McCartney’s ears hear. But what do his eyes see? Specifically, what were his eyes attuned to during the Beatles’ meteoric rise in the early years of the band?\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.famsf.org/exhibitions/paul-mccartney-photographs\">Paul McCartney Photographs 1963–64: Eyes of the Storm\u003c/a>\u003c/em>, on view March 1–July 6, 2025 at the de Young Museum in San Francisco, answers the question with more than 250 recently unearthed photos taken by the famous musician. Perhaps more than anything, the photos in \u003cem>Eyes of the Storm\u003c/em> capture sheer bewilderment — not just at being suddenly thrust onto the global limelight as a teen idol, but at America itself.\u003c/p>\n\u003cp>“We were fascinated with what we were doing and what was happening to us,” McCartney says in the exhibition wall text. “I’ve never lost that sense of wonder.”\u003c/p>\n\u003cfigure id=\"attachment_13972381\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/01.jpg\" alt=\"\" width=\"2000\" height=\"1324\" class=\"size-full wp-image-13972381\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/01.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/01-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/01-1020x675.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/01-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/01-768x508.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/01-1536x1017.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/01-1920x1271.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Paul McCartney, ‘Ringo Starr,’ London, January 1964. \u003ccite>(© 1964 Paul McCartney under exclusive license to MPL Archive LLP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>McCartney has also long harbored a sense of earnest silliness, seen in photos of George Harrison wearing a double-decker top hat, Ringo Starr in a Napoleon getup, or John Lennon twisting up his face and picking a fight with a bust by sculptor David Wynne. One photo simply shows an airplane pulling an advertising banner reading “THERE IS ONLY ONE MISTER PANTS”; one can imagine Paul’s youthful amusement as he reaches for his camera.\u003c/p>\n\u003cp>More intimate moments are shown, whether with McCartney’s bandmates or multiple people credited as “unidentified woman backstage.” The regular presence of adults underscores McCartney’s observation that this era’s photos “remind me more of an England that was more my parents’ generation than my own.” One photo of Harrison’s mother in England shows her with silver hair and a decorative brooch, glancing crookedly up to the camera with a look of hesitation.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>", "attributes": { "named": {}, "numeric": [] } }, { "type": "component", "content": "", "name": "ad", "attributes": { "named": { "label": "fullwidth" }, "numeric": [ "fullwidth" ] } }, { "type": "contentString", "content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And then there is the introspective side. Ringo sitting alone with his signature “I’m doing algebra equations in my head” look. John, up close, with chin rested on his knuckles, like a Rodin sculpture. Paul taking selfies in a mirror in Paris, cigarette plunged sideways into his lips, perfecting his cool-guy look. \u003c/p>\n\u003cfigure id=\"attachment_13972383\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/04.jpg\" alt=\"\" width=\"2000\" height=\"450\" class=\"size-full wp-image-13972383\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/04.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/04-800x180.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/04-1020x230.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/04-160x36.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/04-768x173.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/04-1536x346.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/04-1920x432.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Paul McCartney, ‘Self-portraits,’ Paris, January 1964. \u003ccite>(© 1964 Paul McCartney under exclusive license to MPL Archive LLP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If McCartney’s photographs occasionally constitute fine art, it’s likely by mistake. Many are out of focus or amateurishly composed, which of course lends them a relatability — he’s a 21-year-old playing around with his new Pentax single-lens 35mm, after all. For one so committed to the practiced \u003cem>craft\u003c/em> of songwriting (Lennon was always the greater experimentalist), this imprecision is refreshing to see. \u003c/p>\n\u003cp>Sometimes, though, he strikes gold, as in a mirror selfie with a sharp depth of field taken at girlfriend Jane Asher’s house. I stared at length, also, at a silhouette of French model Sophie Hardy in a slinky black dress, smoking stylishly in profile, her tresses bouncing around her perfect jawline, all framed by two lamps in the foreground. \u003c/p>\n\u003cp>Bay Area fans will surely want to know if the show includes photos from the Beatles’ concert at the Cow Palace in 1964. It does not, nor does it cover their \u003ca href=\"https://diva.sfsu.edu/collections/sfbatv/bundles/230750\">return concert at the Cow Palace in 1965\u003c/a> or their \u003ca href=\"https://www.kqed.org/news/144461/mccartneys-candlestick-concert-has-many-remembering-beatlemania\">final commercial concert at Candlestick Park\u003c/a> in 1966. (McCartney had slowed down his photo-taking by then, images of U.S. opening acts the Exciters and Clarence “Frogman” Henry notwithstanding.) \u003c/p>\n\u003cfigure id=\"attachment_13972385\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/06.jpg\" alt=\"\" width=\"2000\" height=\"1370\" class=\"size-full wp-image-13972385\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/06.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/06-800x548.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/06-1020x699.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/06-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/06-768x526.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/06-1536x1052.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/06-1920x1315.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Paul McCartney, ‘West 58th Street, crossing 6th Avenue,’ New York, February 1964. \u003ccite>(© 1964 Paul McCartney under exclusive license to MPL Archive LLP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But the exhibition does successfully transmit the wide-eyed fascination of a young British kid abroad. In New York, before sending tectonic shocks throughout the country by appearing on \u003ci>The Ed Sullivan Show\u003c/i>, McCartney photographed the Chrysler building, neon signs and rooftop water towers. He also captured fans running after the band’s car on W. 58th Street, shot from the back window. (Other images show fans breaking through police barricades or gathered in huge crowds at the airport as Beatlemania tore through the country.)\u003c/p>\n\u003cp>What of the more specific, peculiar objects that caught Paul’s attention? In Washington, D.C., his eye turned to an adult theater marquee promoting a nude film. In Miami, it was a giant Miller High Life billboard. These are post-adolescent interests, but they also represent an interest in America, and the odd way we do things here.\u003c/p>\n\u003cfigure id=\"attachment_13972390\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/11.jpg\" alt=\"\" width=\"2000\" height=\"1437\" class=\"size-full wp-image-13972390\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/11.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/11-800x575.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/11-1020x733.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/11-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/11-768x552.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/11-1536x1104.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/11-1920x1380.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Paul McCartney, ‘Unidentified girl,’ 1964. \u003ccite>(© 1964 Paul McCartney under exclusive license to MPL Archive LLP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In Miami, for example, Paul photographed a motorcycle cop, but just his waist. “We didn’t have armed police officers back home,” he explains in wall text. So, through the shocked eye of McCartney, we see a close-up of a holster and pistol, with six reserve bullets stored along the belt. \u003c/p>\n\u003cp>In innocent, curious photographs like these, taken by a figurehead of the 1960s and a band said to have changed the world, one has to wonder: Has the world really changed that much since? \u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://www.famsf.org/exhibitions/paul-mccartney-photographs\">Paul McCartney Photographs 1963–64: Eyes of the Storm\u003c/a>’ is on view at the de Young Museum March 1–July 6, 2025.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>", "attributes": { "named": {}, "numeric": [] } } ], "link": "/arts/13972349/paul-mccartney-photos-review-de-young-san-francisco", "authors": [ "185" ], "programs": [ "arts_140" ], "categories": [ "arts_1", "arts_69", "arts_22313", "arts_70" ], "tags": [ "arts_5426", "arts_1210", "arts_10278", "arts_822", "arts_769", "arts_1146", "arts_585" ], "featImg": "arts_13972384", "label": "arts_140" }, "arts_13972352": { "type": "posts", "id": "arts_13972352", "meta": { "index": "posts_1716263798", "site": "arts", "id": "13972352", "score": null, "sort": [ 1740610915000 ] }, "guestAuthors": [], "slug": "melodious-noise-pop-sfjazz", "title": "MeloDious Reps a New Generation of Bay Area Jazz at Noise Pop", "publishDate": 1740610915, "format": "standard", "headTitle": "MeloDious Reps a New Generation of Bay Area Jazz at Noise Pop | KQED", "labelTerm": { "term": 140, "site": "arts" }, "content": "\u003cp>On a sunny Monday afternoon at the Dempseys’ home in East Oakland, the two eldest daughters, Micaiah, 21, and Memphis, 17, positioned themselves at their instruments, finalizing their setlist for their upcoming SFJAZZ show for the annual \u003ca href=\"https://www.kqed.org/arts/tag/noise-pop\">Noise Pop\u003c/a> festival.\u003c/p>\n\u003cp>“We play music at all hours of the day,” Micaiah said. “If we’re feeling it at 4 in the morning, we’re up at 4 in the morning, playing.”\u003c/p>\n\u003cp>Micaiah, Memphis and their brother, Matthias, make up the jazz-fusion trio \u003ca href=\"https://4melodious.com/\">MeloDious\u003c/a>. The siblings first began learning their instruments in early childhood, with Micaiah on piano, Matthias on bass and Memphis on drums. Nearly nine years ago, they decided they wanted to reach more listeners than just their parents, youngest sister and music therapy cat, Olivia. So MeloDious was born. After years of writing, recording and finalizing their music, the family band made it official in 2023 with their debut album, \u003cem>Is It the Way: Volume I\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13972362\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13972362\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/duo3.jpeg\" alt=\"\" width=\"2000\" height=\"1336\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/duo3.jpeg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/duo3-800x534.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/duo3-1020x681.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/duo3-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/duo3-768x513.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/duo3-1536x1026.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/duo3-1920x1283.jpeg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Memphis and Micaiah Dempsey will perform as a duo for MeloDious’ Noise Pop set. \u003ccite>(Molly McCloskey)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Micaiah recently returned from touring in New York and Los Angeles with Oakland-raised R&B singer \u003ca href=\"https://www.kqed.org/arts/13908331/elujays-bright-rb-emerges-from-two-of-the-hardest-years-of-his-life\">Elujay\u003c/a>. Shortly after, she and Memphis began rehearsals for their March 2 Noise Pop show with guitarist Tyler Murphy and bassist Jonathan Herrera. (Matthias is currently on a break from music and focusing on his internship with the Department of Health and Human Services in Washington D.C.) [aside postid='arts_13972213']\u003c/p>\n\u003cp>“It’s nice to be recognized and respected as musicians, at this point. To be like ‘Hey, we want you guys to come play and close out Noise Pop for us,’” Michiah said. “We had the music, we were stoked.” \u003c/p>\n\u003cp>Like many people, the Dempsey siblings found their way to music through church, where the approach differed from the structure required to master jazz. “In church music, you never have to count,” Memphis said. “You always know where you are in some way because there’s lyrics. And it’s playing instrumental music for the first time, I was like, ‘Oh my goodness, I actually have to count and know where I am.’”\u003c/p>\n\u003cp>https://youtu.be/ZhfJl6mLPFw?si=5uYsS_IjPTZyC8_l\u003c/p>\n\u003cp>Micaiah, Memphis and Matthias come from a musical family. Their grandfather was Tony Newsom, a member of the soul group \u003ca href=\"https://youtu.be/sDllH9Eqd6E?si=dxfQluyYGz_WXC8C\">Ebony Jam Band\u003c/a>; he was an early influence of the siblings, along with greats like Stevie Wonder, Natalie Cole and Michael and Janet Jackson. Jazz came into their lives through the Oaktown Jazz Workshops, a nonprofit that’s been nurturing young instrumentalists for three decades.\u003c/p>\n\u003cp>“MeloDious is extremely young and up-and-coming,” said Justin Esposito, the content, social media and marketing strategist of SFJAZZ. “This is one of our earliest efforts to bring and help cultivate new artists within our SFJAZZ audiences.” [ad fullwidth]\u003c/p>\n\u003cp>MeloDious first gained traction with \u003ca href=\"https://www.instagram.com/tv/CdFslF-Fmb5/?utm_source=ig_web_copy_link&igsh=MzRlODBiNWFlZA%3D%3D\">covers of songs like Anita Baker’s “Love Rapture”\u003c/a> on Instagram in 2021. The band’s debut album, \u003cem>Is It the Way: Volume I\u003c/em>, was their first time recording original music. Across its eight uplifting tracks, they sing about love and the newfound independence of young adulthood. Since its release, the album has reached over 43,000 people worldwide and opened doors for the group. Last year, they headlined the storied Oakland jazz club Yoshi’s — a big feat for a band with only one member old enough to drink.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/0eRwXzEC6D14SLXu7zFuyp?utm_source=generator\" width=\"100%\" height=\"352\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Working with siblings can be a joyous experience, but there are also challenges. To become MeloDious, Micaiah, Memphis and Matthias had to turn their family bond into a working relationship. They consider themselves independent artists who just happen to comprise a group.\u003c/p>\n\u003cp>When choosing where they would land as a band, they looked at the instruments they played in their childhood. Memphis was initially interested in the piano, but when Micaiah declared it hers, she turned her eyes to the drums and other instruments like the bass, guitar, piano and a little flute. At a rehearsal for their Noise Pop show, Memphis played the bass (typically her brother’s instrument) to help her sister hear all the elements of the music with one band member missing.\u003c/p>\n\u003cfigure id=\"attachment_13972363\" class=\"wp-caption aligncenter\" style=\"max-width: 1875px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13972363\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/melodious-scaled.jpeg\" alt=\"\" width=\"1875\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/melodious-scaled.jpeg 1875w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/melodious-800x1092.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/melodious-1020x1393.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/melodious-160x218.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/melodious-768x1049.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/melodious-1125x1536.jpeg 1125w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/melodious-1500x2048.jpeg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/melodious-1920x2622.jpeg 1920w\" sizes=\"auto, (max-width: 1875px) 100vw, 1875px\">\u003cfigcaption class=\"wp-caption-text\">Micaiah, Memphis and Matthias Dempsey of MeloDious. \u003ccite>(Drake Johnson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Preparing for their March 2 performance, they practiced a medley of funky covers of familiar songs, such as “Fantasy” by Earth, Wind & Fire and “The Way” by Jill Scott, mixed in with their original music.\u003c/p>\n\u003cp>“We are excited to play our first larger set of the year, and explore new, intimate and advanced repertoire for the first time to jazz lovers,” Micaiah said. “And of course, we are beyond elated to interact with new and existing members of our ever-growing MeloDious family.”\u003c/p>\n\u003chr>\n\u003cp>\u003cem>MeloDious performs at SFJAZZ on March 2 for Noise Pop. \u003ca href=\"http://events.noisepop.com/events/2025/3/2/melodious-tickets\">Tickets and details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n", "blocks": [], "excerpt": "The siblings, aged 17 to 21, are making waves with their uplifting jazz fusion. They close out the festival on March 2. ", "status": "publish", "parent": 0, "modified": 1740611214, "stats": { "hasAudio": false, "hasVideo": false, "hasChartOrMap": false, "iframeSrcs": [], "hasGoogleForm": false, "hasGallery": false, "hasHearkenModule": false, "hasPolis": false, "paragraphCount": 16, "wordCount": 838 }, "headData": { "title": "MeloDious Reps a New Generation of Bay Area Jazz at Noise Pop | KQED", "description": "The siblings, aged 17 to 21, are making waves with their uplifting jazz fusion. They close out the festival on March 2. ", "ogTitle": "", "ogDescription": "", "ogImgId": "", "twTitle": "", "twDescription": "", "twImgId": "", "schema": { "@context": "http://schema.org", "@type": "Article", "headline": "MeloDious Reps a New Generation of Bay Area Jazz at Noise Pop", "datePublished": "2025-02-26T15:01:55-08:00", "dateModified": "2025-02-26T15:06:54-08:00", "image": "https://cdn.kqed.org/wp-content/uploads/2020/02/[email protected]" } }, "sticky": false, "nprByline": "Nia Coats", "nprStoryId": "kqed-13972352", "templateType": "standard", "featuredImageType": "standard", "excludeFromSiteSearch": "Include", "showOnAuthorArchivePages": "No", "articleAge": "0", "path": "/arts/13972352/melodious-noise-pop-sfjazz", "audioTrackLength": null, "parsedContent": [ { "type": "contentString", "content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On a sunny Monday afternoon at the Dempseys’ home in East Oakland, the two eldest daughters, Micaiah, 21, and Memphis, 17, positioned themselves at their instruments, finalizing their setlist for their upcoming SFJAZZ show for the annual \u003ca href=\"https://www.kqed.org/arts/tag/noise-pop\">Noise Pop\u003c/a> festival.\u003c/p>\n\u003cp>“We play music at all hours of the day,” Micaiah said. “If we’re feeling it at 4 in the morning, we’re up at 4 in the morning, playing.”\u003c/p>\n\u003cp>Micaiah, Memphis and their brother, Matthias, make up the jazz-fusion trio \u003ca href=\"https://4melodious.com/\">MeloDious\u003c/a>. The siblings first began learning their instruments in early childhood, with Micaiah on piano, Matthias on bass and Memphis on drums. Nearly nine years ago, they decided they wanted to reach more listeners than just their parents, youngest sister and music therapy cat, Olivia. So MeloDious was born. After years of writing, recording and finalizing their music, the family band made it official in 2023 with their debut album, \u003cem>Is It the Way: Volume I\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13972362\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13972362\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/duo3.jpeg\" alt=\"\" width=\"2000\" height=\"1336\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/duo3.jpeg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/duo3-800x534.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/duo3-1020x681.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/duo3-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/duo3-768x513.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/duo3-1536x1026.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/duo3-1920x1283.jpeg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Memphis and Micaiah Dempsey will perform as a duo for MeloDious’ Noise Pop set. \u003ccite>(Molly McCloskey)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Micaiah recently returned from touring in New York and Los Angeles with Oakland-raised R&B singer \u003ca href=\"https://www.kqed.org/arts/13908331/elujays-bright-rb-emerges-from-two-of-the-hardest-years-of-his-life\">Elujay\u003c/a>. Shortly after, she and Memphis began rehearsals for their March 2 Noise Pop show with guitarist Tyler Murphy and bassist Jonathan Herrera. (Matthias is currently on a break from music and focusing on his internship with the Department of Health and Human Services in Washington D.C.) \u003c/p>\u003c/div>", "attributes": { "named": {}, "numeric": [] } }, { "type": "component", "content": "", "name": "aside", "attributes": { "named": { "postid": "arts_13972213", "label": "" }, "numeric": [] } }, { "type": "contentString", "content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It’s nice to be recognized and respected as musicians, at this point. To be like ‘Hey, we want you guys to come play and close out Noise Pop for us,’” Michiah said. “We had the music, we were stoked.” \u003c/p>\n\u003cp>Like many people, the Dempsey siblings found their way to music through church, where the approach differed from the structure required to master jazz. “In church music, you never have to count,” Memphis said. “You always know where you are in some way because there’s lyrics. And it’s playing instrumental music for the first time, I was like, ‘Oh my goodness, I actually have to count and know where I am.’”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/ZhfJl6mLPFw'\n title='//www.youtube.com/embed/ZhfJl6mLPFw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Micaiah, Memphis and Matthias come from a musical family. Their grandfather was Tony Newsom, a member of the soul group \u003ca href=\"https://youtu.be/sDllH9Eqd6E?si=dxfQluyYGz_WXC8C\">Ebony Jam Band\u003c/a>; he was an early influence of the siblings, along with greats like Stevie Wonder, Natalie Cole and Michael and Janet Jackson. Jazz came into their lives through the Oaktown Jazz Workshops, a nonprofit that’s been nurturing young instrumentalists for three decades.\u003c/p>\n\u003cp>“MeloDious is extremely young and up-and-coming,” said Justin Esposito, the content, social media and marketing strategist of SFJAZZ. “This is one of our earliest efforts to bring and help cultivate new artists within our SFJAZZ audiences.” \u003c/p>\u003c/div>", "attributes": { "named": {}, "numeric": [] } }, { "type": "component", "content": "", "name": "ad", "attributes": { "named": { "label": "fullwidth" }, "numeric": [ "fullwidth" ] } }, { "type": "contentString", "content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>MeloDious first gained traction with \u003ca href=\"https://www.instagram.com/tv/CdFslF-Fmb5/?utm_source=ig_web_copy_link&igsh=MzRlODBiNWFlZA%3D%3D\">covers of songs like Anita Baker’s “Love Rapture”\u003c/a> on Instagram in 2021. The band’s debut album, \u003cem>Is It the Way: Volume I\u003c/em>, was their first time recording original music. Across its eight uplifting tracks, they sing about love and the newfound independence of young adulthood. Since its release, the album has reached over 43,000 people worldwide and opened doors for the group. Last year, they headlined the storied Oakland jazz club Yoshi’s — a big feat for a band with only one member old enough to drink.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/0eRwXzEC6D14SLXu7zFuyp?utm_source=generator\" width=\"100%\" height=\"352\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Working with siblings can be a joyous experience, but there are also challenges. To become MeloDious, Micaiah, Memphis and Matthias had to turn their family bond into a working relationship. They consider themselves independent artists who just happen to comprise a group.\u003c/p>\n\u003cp>When choosing where they would land as a band, they looked at the instruments they played in their childhood. Memphis was initially interested in the piano, but when Micaiah declared it hers, she turned her eyes to the drums and other instruments like the bass, guitar, piano and a little flute. At a rehearsal for their Noise Pop show, Memphis played the bass (typically her brother’s instrument) to help her sister hear all the elements of the music with one band member missing.\u003c/p>\n\u003cfigure id=\"attachment_13972363\" class=\"wp-caption aligncenter\" style=\"max-width: 1875px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13972363\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/melodious-scaled.jpeg\" alt=\"\" width=\"1875\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/melodious-scaled.jpeg 1875w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/melodious-800x1092.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/melodious-1020x1393.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/melodious-160x218.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/melodious-768x1049.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/melodious-1125x1536.jpeg 1125w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/melodious-1500x2048.jpeg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/melodious-1920x2622.jpeg 1920w\" sizes=\"auto, (max-width: 1875px) 100vw, 1875px\">\u003cfigcaption class=\"wp-caption-text\">Micaiah, Memphis and Matthias Dempsey of MeloDious. \u003ccite>(Drake Johnson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Preparing for their March 2 performance, they practiced a medley of funky covers of familiar songs, such as “Fantasy” by Earth, Wind & Fire and “The Way” by Jill Scott, mixed in with their original music.\u003c/p>\n\u003cp>“We are excited to play our first larger set of the year, and explore new, intimate and advanced repertoire for the first time to jazz lovers,” Micaiah said. “And of course, we are beyond elated to interact with new and existing members of our ever-growing MeloDious family.”\u003c/p>\n\u003chr>\n\u003cp>\u003cem>MeloDious performs at SFJAZZ on March 2 for Noise Pop. \u003ca href=\"http://events.noisepop.com/events/2025/3/2/melodious-tickets\">Tickets and details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>", "attributes": { "named": {}, "numeric": [] } } ], "link": "/arts/13972352/melodious-noise-pop-sfjazz", "authors": [ "byline_arts_13972352" ], "programs": [ "arts_140" ], "categories": [ "arts_1", "arts_69" ], "tags": [ "arts_10278", "arts_1022", "arts_585" ], "featImg": "arts_13972361", "label": "arts_140" }, "arts_13961188": { "type": "posts", "id": "arts_13961188", "meta": { "index": "posts_1716263798", "site": "arts", "id": "13961188", "score": null, "sort": [ 1721296854000 ] }, "guestAuthors": [], "slug": "rightnowishs-grand-finale-words-of-wisdom-from-timothy-b", "title": "Rightnowish’s Grand Finale: Words of Wisdom from Timothy B.", "publishDate": 1721296854, "format": "audio", "headTitle": "Rightnowish’s Grand Finale: Words of Wisdom from Timothy B. | KQED", "labelTerm": { "term": 8720, "site": "arts" }, "content": "\u003cp>\u003ca href=\"#episode-transcript\">\u003ci>\u003cspan style=\"font-weight: 400\">View the full episode transcript.\u003c/span>\u003c/i>\u003c/a>\u003c/p>\n\u003cp>On this final episode of the Rightnowish podcast, we end back where we started — but with some pretty significant updates.\u003c/p>\n\u003cp>In the fall of 2019, renowned visual artist \u003ca href=\"https://www.instagram.com/timothyb_art/\" target=\"_blank\" rel=\"noopener\">Timothy B.\u003c/a> gave us the first full Rightnowish interview for an episode titled ‘\u003ca href=\"https://www.kqed.org/arts/13868502/from-d-boys-to-dope-art\" target=\"_blank\" rel=\"noopener\">From D-Boys to Dope Art.\u003c/a>’\u003c/p>\n\u003cp>During that interview, Timothy B. was flanked by his mother Dana Bluitt and his father Timothy Bluitt Sr. as he shared with us his perspective on mural making, community building and his work in Oakland. We also discussed how Timothy B.’s colorful paintings on the streets of the Town differ drastically from the work his father did in Oakland during the ’80s and early ’90s.\u003c/p>\n\u003cp>Timothy Sr., a representative of East Oakland’s legendary 69 Mob, was incarcerated in a federal penitentiary for over two decades. During that time, Mrs. Bluitt held the family down. Timothy B. took notes from both his mother and father, and flourished because of the strength of his parents.\u003c/p>\n\u003cp>Now, five years after our last conversation on tape, Timothy B. is a father too. Stepping into parenthood has changed his painting schedule and personal priorities. But he remains creative.\u003c/p>\n\u003cfigure id=\"attachment_13961247\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13961247 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screenshot-2024-07-16-at-11.40.56%E2%80%AFPM-800x1100.png\" alt=\"Timothy B. stands on a lift in front of a mural he painted at the East Oakland Youth Center dedicated to journalist and political prisoner Mumia Abu-Jamal.\" width=\"800\" height=\"1100\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screenshot-2024-07-16-at-11.40.56 PM-800x1100.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screenshot-2024-07-16-at-11.40.56 PM-160x220.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screenshot-2024-07-16-at-11.40.56 PM-768x1056.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screenshot-2024-07-16-at-11.40.56 PM.png 972w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Timothy B. stands on a lift in front of a mural he painted at the East Oakland Youth Center dedicated to journalist and political prisoner Mumia Abu-Jamal. \u003ccite>(Courtesy of Timothy B. )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In fact, having painted numerous murals around the Town and beyond, his work is getting out there more than ever. In Oakland, his work can be seen at places like the corner store on Grand and Ellita, as well as the broad side of buildings on 7th and Washington, 82nd and International, and 15th and Webster. He has more murals in the works, plus he’s expanding beyond walls: this past February, his designs were commissioned, printed on T-shirts and given away at \u003ca href=\"https://www.instagram.com/p/C3RDwNIPJNl/?hl=en\" target=\"_blank\" rel=\"noopener\">a Golden State Warriors home game\u003c/a>.\u003c/p>\n\u003cp>This week, we discuss how Timothy B. has grown, and how Oakland has changed. And then Timothy B. gives us some advice on how to deal with major life transitions; advice I needed to hear as we end the Rightnowish podcast.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC4636659965\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003ch2 id=\"episode-transcript\">Episode Transcript\u003c/h2>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">This is a computer-generated transcript. While our team has reviewed it, there may be errors.\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw, Host: \u003c/b>\u003cspan style=\"font-weight: 400\">What’s up Rightnowish listeners, I’m your host Pendarvis Harshaw.\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">We are here. At the grand finale, the final episode of Rightnowish. We’ve had an amazing 5 year run, so much love, so many memories. Thank you all for rocking with us. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">To host an arts and culture show in the Bay Area, it’s been so dope, I haven’t fully processed it. But for now I can say that I’m extremely grateful…grateful for the emails, comments on social posts and conversations at bars and coffee shops…grateful that we’ve had the support from KQED and from the community…grateful to the people who shared their stories with us, and to everyone who listened. I could go on but, yeah, grateful. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">That being said, to bookend this Rightnowish podcast, we’re going back to where we started: a conversation with the very first guest on the show– renowned visual artist, Timothy B. We caught up with him via zoom from his Oakland studio.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Timothy’s work can be found all around the Bay, and beyond. He’s painted images of community members, goddesses and of Huey P. Newton. His mural of the late Nipsey Hussle on Grand and Perkins in Oakland is a trademark piece. Another mural on a wall further down Grand pays homage to the memory of Nia Wilson, a young woman who was slain on a BART platform in July of 2018.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In the first episode of Rightnowish, Timothy B. and I discussed how his work on the streets of the town differs drastically from the work his father did. His dad, Timothy Bliutt Sr., is a factor from East Oakland’s legendary 69 Mob, and he also served a significant amount of time in a federal penitentiary. And from there Mrs. Dana Bluitt, Timothy B.’s mother, held the family down. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Which brings us to today– over the last five years a lot has changed for Timothy B. He’s a father now. So, for this final episode, we chop it up about Oakland, art and mental health, as well as fatherhood, personal relationships and the process of dealing with life’s big transitions.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">As you might imagine, I could use that advice right now… ish. Yeah, more after this. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">There we go, there we go, there we go, Timothy B! I’m really excited to talk to you today for a number of reasons, really because you were the first interview in the Rightnowish series. You started us off on a good note, and so much has changed over the past 5 years. And when I think of all the changes that you have experienced, the biggest one is fatherhood. And our past conversation was about family and your parents and how they poured into you, and how that shows up in your artistry and given your relationship with your parents, what does it mean to you to be a father now? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Timothy B: \u003c/b>\u003cspan style=\"font-weight: 400\">You know, my son, he’s, he’s going to be the first to experience having a father and grandfather in I don’t know in how many generations, you know. So, you know, that’s power in itself. Because my father was incarcerated for 24 years of my life, to receive the opportunity to be a father now is monumental. I could give, ya know, my son, he’s…he won’t ever know what it’s like to not have a father around, you know? God forbid anything happens to me. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">As you know, being a father yourself, I’m learning a lot around patience. Being a father is probably like, one of my hardest tasks, you know, just trying to balance everything. And I don’t cook to often, right? I think that’s probably like, my biggest challenge is just cooking different meals \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[laughs] \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">that he would eat.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Gotta gotta learn more than just the spaghetti. I remember I stepped my game up. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[laughs]\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> I’m tired of having spaghetti, Dawg. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Timothy B: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah, for me, man, it’s mashed potatoes and broccoli \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[laughs]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> But that’s clutch, that’s clutch yeah. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Timothy B: \u003c/b>\u003cspan style=\"font-weight: 400\">But yeah, it’s been an amazing journey so far. You know, just seeing how, how much joy he bring, not to just myself, but everybody around. I feel like he was just, he was brought at the perfect time. He gave my family hope. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">You mentioned the balance, the balancing act and, I mean, you are a renowned artist. How has parenthood changed your schedule as an artist?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Timothy B: \u003c/b>\u003cspan style=\"font-weight: 400\">Considering that I have my son four days a week,\u003c/span> \u003cspan style=\"font-weight: 400\">I don’t have much time to focus on my work like I used to. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">When I’m off father-duty, I’m a lot more focused than I used to be. Whereas before I used to cat-off a little bit. But these days, time management skills is a lot much better, ya feel me? So, I think I’m a little more disciplined now than I was back then.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">What are some of the things that you’re dealing with with life right now? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Timothy B:\u003c/b> \u003cspan style=\"font-weight: 400\">It’s a trip because you know all these great things are happening in the art department. You know a lot of people, they see me accomplishing great things every month. I’m having unveiling, there’s a celebration, I’m being honored by The Warriors and Allen Temple Baptist Church and it’s just love being thrown my way, but at the, on the flip side of it, man I’ve been feeling like sh*t. I’m feeling terrible, you know, just for the reasons that my personal relationships to the people I love the most, you know are in sh*t. It’s like, I don’t know man. Just trying to find that balance. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">What’s your method to the madness? How do you deal with it all? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Timothy B: \u003c/b>\u003cspan style=\"font-weight: 400\">Martial arts, you know, has really helped. I’ve been, you know, getting some sun. And also just accepting that people are going to feel how they feel, you know. Like, there’s nothing, you know, there’s certain things you just can’t do. You know, you can’t control how people think of you. You know, like, if your intentions is to do right by people, but they don’t, they can’t receive it for whatever reason, yo, that’s outside of you. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">But I’m learning, you know, these days to, you know, continue to just show the love that I want to receive and if they could receive it from you. Cool. You know, if they not, if they can’t, I’m still going to try to pour as much as I can. You feel me? But, you know, just set my boundaries to protect my heart. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Timothy B: \u003c/b>\u003cspan style=\"font-weight: 400\">You know, the last thing I want to do is like, be here, be out here angry or frustrated. You feel me? So, you know, as of late I’ve been, like, moving in gratitude. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">You once told me that your artwork is an escape for you. Does it still provide that same escape? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Timothy B: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah man, it really does. It really does. Because I mean, essentially, you know, I create worlds, you know whenever, you know, I’m logging into the arts, I’m in a whole different zone. Like, I’m in a whole different thinking space, \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\">Can you describe your style? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Timothy B: \u003c/b>\u003cspan style=\"font-weight: 400\">I think I have, like a Afro-futuristic, surrealist style. I love, like, a stylistic, illustrative type of art, you know, similar to, like, you know, like, comic book style. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I’m thinking of, like, I’ll read, like, you know, like the \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Black Panther\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, the one that was written by Ta-Nehisi Coates.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Timothy B: \u003c/b>\u003cspan style=\"font-weight: 400\">I can’t think of who the illustrator is right now, but his work is is tight. You know, it’s like it’s highly detailed, kind of wanderlust. And whenever I think of my work, you know, I try to give that kind of a Candyland type feel, you know, but with, you know, a real sense of reality, \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\">That makes perfect sense. But I like what you say like surrealism, Afrofuturism, a little, you know, flavor to make it shine. And I could fully see that in your work, man. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I’m thinking about a design you did earlier this year that debuted for The Warriors during Black History Month, real big deal, man. Walk me through the process of designing that image. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Timothy B: \u003c/b>\u003cspan style=\"font-weight: 400\">I usually start with looking at different references. I would write down, like my intentions for the design, how I want it to feel, what I want it to represent. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Timothy B: \u003c/b>\u003cspan style=\"font-weight: 400\">That piece was like, it was themed around manifesting your life, your destiny, your dreams. And it was of a boy, you know, with his hands out and like his strength, his power is in his hands. Right? And my, you know, thinking about myself, you know, I’ve been able to manifest everything I want in life, you know, like I’m living the dream right now. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Man, it all came from my hands. You know, I’ve been able to travel the world. I’ve been able to buy the cars I want. I’ve been able to live in the space I want to live in. All because of these hands. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Behind him was, the elders, you know, that were standing together in prayer, praying over the boy. You know, I come from a big village as you know. My family has always been, ya know, real good at uplifting me in whatever I wanted to do. And, so, you know, that’s what that piece was about. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Having that image printed on hundreds of thousands of t-shirts inside of The Warriors’ Chase Center, what was it like for you to walk in that evening and see your art?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Timothy B: \u003c/b>\u003cspan style=\"font-weight: 400\">It was unreal. I would say it was unreal. Like, I don’t even think it really like resonated until afterwards. It was a reminder that I’ve came a long way. You know, like I, you know, I remember, you know, being in college telling myself that one day all this is going to make sense. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">So now, to be in this position where, like you say, I got t-shirts, I’m doing.. got t-shirts all over the arena, the Chase. You know, I could barely even afford to be in the arena but now, you know, I’m in partnership with The Warriors, you feel me. It was like, man, like, it’s just it’s euphoric. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">You had your son with you? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Timothy B: \u003c/b>\u003cspan style=\"font-weight: 400\">My son going everywhere with me. You feel me? Like he needs to know that anything is possible at a very young age.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">What does it mean for someone to come up to you and compliment your work and give you your flowers? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Timothy B: \u003c/b>\u003cspan style=\"font-weight: 400\">What that means to me is that one… people, people see me. And that feels good in itself to be seen, to be recognized, and also to be appreciated for the things that you love to do that you think no one sees. It’d be one thing if I was out here popular for, like, putting out negativity. But when you’re not with that, when you out here putting, you know, spreading love, that’s what you receive. Everywhere you go is just love. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Beyond putting paint where it ain’t and just doing an immaculate job at it, you’re also the founder of Good Air Studios, where you host live events and workshops for artists. Bringing it back a little bit, the last time we talked you were at Mouse Cat, and five years, a lot has changed. How was Good Air different from Mouse Cat? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Timothy B: \u003c/b>\u003cspan style=\"font-weight: 400\">The Mouse Cat, personal studio is just all about…it’s my living space, you know. This is where I create, where I sleep, you know, but I needed a space for the community. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Timothy B: \u003c/b>\u003cspan style=\"font-weight: 400\">For the longest time I’ve been doing this arts stuff, running this business by myself. I wanted to share this with other people. There’s a bunch of artists that look up to me and want to work by my side. And I want to be there to work in collaboration with them and teach them and learn from them. So I wanted to, you know, create a space for, you know, me and the community to connect and build. That’s how Good Air Studios came about. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For months, I was looking in this space, and I was just trying to, you know, figure out how I was going to pay that rent. So I reached out to all my closest friends and, you know, I pitched the idea to them, and then they believed in what I was talking about and now we here. \u003c/span>\u003cb> \u003c/b>\u003cspan style=\"font-weight: 400\">We makin’ enough money to pay rent, you know, but that’s a milestone. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\">That’s gotta be dope to see it happening, the wheels are turning.\u003c/span> \u003cspan style=\"font-weight: 400\">I’ve been to the space it’s high ceilings, you know, like old warehouse just covered in art everywhere, the ping pong tables out front. You got the vibes and all of that is important. But the… what you just said beyond just the esthetics, this is about having space for creatives to come together. Why do you think that’s important for creatives in the Bay area right now? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Timothy B: \u003c/b>\u003cspan style=\"font-weight: 400\">I feel like we as Black artists need a space for us, you know? And that’s what Good Air Studio is, you know? And it’s not just for Black artists, of course, but we are trying to encourage the Black community to come out and even those who don’t really draw like that and who want to learn, you know, we want to host workshops for them so they could develop the confidence to, you know, express themselves through that medium. We doing something really dope. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\"> I feel like you personally, and also the larger ideas that come from you and your circle are very representative of creatives in the Bay Area right now. And also like, looking forward, I feel like y’all have a foot on the pulse of the now and also have some say in what’s to come down the pipeline.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">And we’re coming to the end of producing this show. With that, there’s a slight relief that I don’t do the same thing over and over again and there’s some sadness of like losing this thing that I love, right? And you as a person who’s gone through some transitions in your life, what advice would you give to myself and the Rightnowish team as we go through this transition? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Timothy B: \u003c/b>\u003cspan style=\"font-weight: 400\">We all creatives here. So no matter what we doing, we are doing something..we gon do something dope. So I guess my advice is to, continue to move in purpose, you know, and continue to move, towards whatever it is that is fulfilling your spirit, you know, because that is the thing that is going to wake us all up. That’s the… you like, you starting this show, this is the thing that we all needed. We needed to hear these stories of, you know, all these local celebrities. We use these stories that just, you know, remind us of maybe what we doing or, maybe get an insight of, you know, what is out there. Yeah man, continue to explore and experiment, it will happen for you, I promise you. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Thank you. Thank you for sharing some insight into your life as a parent and also your life as an artist, man. And like, yeah, I can’t thank you enough because, you know, you changed the visual landscape at a place that we love. And that’s, that’s a hell of a task. So thank you. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">There’s this thing that happens in journalism sometimes, where the person you’re interviewing speaks your truths. And all you can do is nod in agreement as the tape rolls. Timothy B.’s thoughts on community interaction — how it’s fueled his art and community service, even while dealing with all that life can throw at him. Yeah, bingo. That’s been a big part of this Rightnowish experience. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">So Timothy B, Thank you again for your words of wisdom, your story and your work. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">To keep up with Timothy B’s visual arts, live events and more follow him on Instagram at timothyb underscore art. That’s t-i-m-o-t-h-y-b underscore art. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And, wow…. for the last time here go the show credits:\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This episode was hosted by me, Pendarvis Harshaw\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">Marisol Medina-Cadena is the Rightnowish producer. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Some of the music you heard in the episode was sourced from Audio Network.\u003cbr>\n\u003c/span>\u003cbr>\nChris Hambrick and Chris Egusa edited this episode.\u003cbr>\nChristopher Beale is our engineer.\u003cbr>\nThe Rightnowish team is also supported by Jen Chien, Ugur Dursun, Holly Kernan and Katie Sprenger.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">Aight yall. This is the end. Thanks again. As a wise person once told me: keep it lit. Peace. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Rightnowish is a KQED production.\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n", "blocks": [], "excerpt": "Rightnowish ends its five-year run by checking back in with its very first guest, Timothy B. ", "status": "publish", "parent": 0, "modified": 1726875349, "stats": { "hasAudio": true, "hasVideo": false, "hasChartOrMap": false, "iframeSrcs": [], "hasGoogleForm": false, "hasGallery": false, "hasHearkenModule": false, "hasPolis": false, "paragraphCount": 80, "wordCount": 3587 }, "headData": { "title": "Rightnowish’s Grand Finale: Words of Wisdom from Timothy B. | KQED", "description": "On this final episode of the Rightnowish podcast, we end back where we started and check in with renowned visual artist Timothy B., who was the very first Rightnowish guest.", "ogTitle": "", "ogDescription": "", "ogImgId": "", "twTitle": "", "twDescription": "", "twImgId": "", "socialDescription": "On this final episode of the Rightnowish podcast, we end back where we started and check in with renowned visual artist Timothy B., who was the very first Rightnowish guest.", "schema": { "@context": "http://schema.org", "@type": "Article", "headline": "Rightnowish’s Grand Finale: Words of Wisdom from Timothy B.", "datePublished": "2024-07-18T03:00:54-07:00", "dateModified": "2024-09-20T16:35:49-07:00", "image": "https://cdn.kqed.org/wp-content/uploads/2020/02/[email protected]" } }, "audioUrl": "https://www.podtrac.com/pts/redirect.mp3/chrt.fm/track/G6C7C3/traffic.megaphone.fm/KQINC4636659965.mp3?updated=1721260825", "sticky": false, "nprStoryId": "kqed-13961188", "templateType": "standard", "featuredImageType": "standard", "excludeFromSiteSearch": "Include", "articleAge": "0", "path": "/arts/13961188/rightnowishs-grand-finale-words-of-wisdom-from-timothy-b", "audioTrackLength": null, "parsedContent": [ { "type": "contentString", "content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"#episode-transcript\">\u003ci>\u003cspan style=\"font-weight: 400\">View the full episode transcript.\u003c/span>\u003c/i>\u003c/a>\u003c/p>\n\u003cp>On this final episode of the Rightnowish podcast, we end back where we started — but with some pretty significant updates.\u003c/p>\n\u003cp>In the fall of 2019, renowned visual artist \u003ca href=\"https://www.instagram.com/timothyb_art/\" target=\"_blank\" rel=\"noopener\">Timothy B.\u003c/a> gave us the first full Rightnowish interview for an episode titled ‘\u003ca href=\"https://www.kqed.org/arts/13868502/from-d-boys-to-dope-art\" target=\"_blank\" rel=\"noopener\">From D-Boys to Dope Art.\u003c/a>’\u003c/p>\n\u003cp>During that interview, Timothy B. was flanked by his mother Dana Bluitt and his father Timothy Bluitt Sr. as he shared with us his perspective on mural making, community building and his work in Oakland. We also discussed how Timothy B.’s colorful paintings on the streets of the Town differ drastically from the work his father did in Oakland during the ’80s and early ’90s.\u003c/p>\n\u003cp>Timothy Sr., a representative of East Oakland’s legendary 69 Mob, was incarcerated in a federal penitentiary for over two decades. During that time, Mrs. Bluitt held the family down. Timothy B. took notes from both his mother and father, and flourished because of the strength of his parents.\u003c/p>\n\u003cp>Now, five years after our last conversation on tape, Timothy B. is a father too. Stepping into parenthood has changed his painting schedule and personal priorities. But he remains creative.\u003c/p>\n\u003cfigure id=\"attachment_13961247\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13961247 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screenshot-2024-07-16-at-11.40.56%E2%80%AFPM-800x1100.png\" alt=\"Timothy B. stands on a lift in front of a mural he painted at the East Oakland Youth Center dedicated to journalist and political prisoner Mumia Abu-Jamal.\" width=\"800\" height=\"1100\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screenshot-2024-07-16-at-11.40.56 PM-800x1100.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screenshot-2024-07-16-at-11.40.56 PM-160x220.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screenshot-2024-07-16-at-11.40.56 PM-768x1056.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screenshot-2024-07-16-at-11.40.56 PM.png 972w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Timothy B. stands on a lift in front of a mural he painted at the East Oakland Youth Center dedicated to journalist and political prisoner Mumia Abu-Jamal. \u003ccite>(Courtesy of Timothy B. )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In fact, having painted numerous murals around the Town and beyond, his work is getting out there more than ever. In Oakland, his work can be seen at places like the corner store on Grand and Ellita, as well as the broad side of buildings on 7th and Washington, 82nd and International, and 15th and Webster. He has more murals in the works, plus he’s expanding beyond walls: this past February, his designs were commissioned, printed on T-shirts and given away at \u003ca href=\"https://www.instagram.com/p/C3RDwNIPJNl/?hl=en\" target=\"_blank\" rel=\"noopener\">a Golden State Warriors home game\u003c/a>.\u003c/p>\n\u003cp>This week, we discuss how Timothy B. has grown, and how Oakland has changed. And then Timothy B. gives us some advice on how to deal with major life transitions; advice I needed to hear as we end the Rightnowish podcast.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC4636659965\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003ch2 id=\"episode-transcript\">Episode Transcript\u003c/h2>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">This is a computer-generated transcript. While our team has reviewed it, there may be errors.\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw, Host: \u003c/b>\u003cspan style=\"font-weight: 400\">What’s up Rightnowish listeners, I’m your host Pendarvis Harshaw.\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">We are here. At the grand finale, the final episode of Rightnowish. We’ve had an amazing 5 year run, so much love, so many memories. Thank you all for rocking with us. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">To host an arts and culture show in the Bay Area, it’s been so dope, I haven’t fully processed it. But for now I can say that I’m extremely grateful…grateful for the emails, comments on social posts and conversations at bars and coffee shops…grateful that we’ve had the support from KQED and from the community…grateful to the people who shared their stories with us, and to everyone who listened. I could go on but, yeah, grateful. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">That being said, to bookend this Rightnowish podcast, we’re going back to where we started: a conversation with the very first guest on the show– renowned visual artist, Timothy B. We caught up with him via zoom from his Oakland studio.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Timothy’s work can be found all around the Bay, and beyond. He’s painted images of community members, goddesses and of Huey P. Newton. His mural of the late Nipsey Hussle on Grand and Perkins in Oakland is a trademark piece. Another mural on a wall further down Grand pays homage to the memory of Nia Wilson, a young woman who was slain on a BART platform in July of 2018.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In the first episode of Rightnowish, Timothy B. and I discussed how his work on the streets of the town differs drastically from the work his father did. His dad, Timothy Bliutt Sr., is a factor from East Oakland’s legendary 69 Mob, and he also served a significant amount of time in a federal penitentiary. And from there Mrs. Dana Bluitt, Timothy B.’s mother, held the family down. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Which brings us to today– over the last five years a lot has changed for Timothy B. He’s a father now. So, for this final episode, we chop it up about Oakland, art and mental health, as well as fatherhood, personal relationships and the process of dealing with life’s big transitions.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">As you might imagine, I could use that advice right now… ish. Yeah, more after this. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">There we go, there we go, there we go, Timothy B! I’m really excited to talk to you today for a number of reasons, really because you were the first interview in the Rightnowish series. You started us off on a good note, and so much has changed over the past 5 years. And when I think of all the changes that you have experienced, the biggest one is fatherhood. And our past conversation was about family and your parents and how they poured into you, and how that shows up in your artistry and given your relationship with your parents, what does it mean to you to be a father now? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Timothy B: \u003c/b>\u003cspan style=\"font-weight: 400\">You know, my son, he’s, he’s going to be the first to experience having a father and grandfather in I don’t know in how many generations, you know. So, you know, that’s power in itself. Because my father was incarcerated for 24 years of my life, to receive the opportunity to be a father now is monumental. I could give, ya know, my son, he’s…he won’t ever know what it’s like to not have a father around, you know? God forbid anything happens to me. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">As you know, being a father yourself, I’m learning a lot around patience. Being a father is probably like, one of my hardest tasks, you know, just trying to balance everything. And I don’t cook to often, right? I think that’s probably like, my biggest challenge is just cooking different meals \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[laughs] \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">that he would eat.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Gotta gotta learn more than just the spaghetti. I remember I stepped my game up. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[laughs]\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> I’m tired of having spaghetti, Dawg. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Timothy B: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah, for me, man, it’s mashed potatoes and broccoli \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[laughs]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> But that’s clutch, that’s clutch yeah. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Timothy B: \u003c/b>\u003cspan style=\"font-weight: 400\">But yeah, it’s been an amazing journey so far. You know, just seeing how, how much joy he bring, not to just myself, but everybody around. I feel like he was just, he was brought at the perfect time. He gave my family hope. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">You mentioned the balance, the balancing act and, I mean, you are a renowned artist. How has parenthood changed your schedule as an artist?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Timothy B: \u003c/b>\u003cspan style=\"font-weight: 400\">Considering that I have my son four days a week,\u003c/span> \u003cspan style=\"font-weight: 400\">I don’t have much time to focus on my work like I used to. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">When I’m off father-duty, I’m a lot more focused than I used to be. Whereas before I used to cat-off a little bit. But these days, time management skills is a lot much better, ya feel me? So, I think I’m a little more disciplined now than I was back then.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">What are some of the things that you’re dealing with with life right now? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Timothy B:\u003c/b> \u003cspan style=\"font-weight: 400\">It’s a trip because you know all these great things are happening in the art department. You know a lot of people, they see me accomplishing great things every month. I’m having unveiling, there’s a celebration, I’m being honored by The Warriors and Allen Temple Baptist Church and it’s just love being thrown my way, but at the, on the flip side of it, man I’ve been feeling like sh*t. I’m feeling terrible, you know, just for the reasons that my personal relationships to the people I love the most, you know are in sh*t. It’s like, I don’t know man. Just trying to find that balance. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">What’s your method to the madness? How do you deal with it all? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Timothy B: \u003c/b>\u003cspan style=\"font-weight: 400\">Martial arts, you know, has really helped. I’ve been, you know, getting some sun. And also just accepting that people are going to feel how they feel, you know. Like, there’s nothing, you know, there’s certain things you just can’t do. You know, you can’t control how people think of you. You know, like, if your intentions is to do right by people, but they don’t, they can’t receive it for whatever reason, yo, that’s outside of you. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">But I’m learning, you know, these days to, you know, continue to just show the love that I want to receive and if they could receive it from you. Cool. You know, if they not, if they can’t, I’m still going to try to pour as much as I can. You feel me? But, you know, just set my boundaries to protect my heart. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Timothy B: \u003c/b>\u003cspan style=\"font-weight: 400\">You know, the last thing I want to do is like, be here, be out here angry or frustrated. You feel me? So, you know, as of late I’ve been, like, moving in gratitude. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">You once told me that your artwork is an escape for you. Does it still provide that same escape? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Timothy B: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah man, it really does. It really does. Because I mean, essentially, you know, I create worlds, you know whenever, you know, I’m logging into the arts, I’m in a whole different zone. Like, I’m in a whole different thinking space, \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\">Can you describe your style? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Timothy B: \u003c/b>\u003cspan style=\"font-weight: 400\">I think I have, like a Afro-futuristic, surrealist style. I love, like, a stylistic, illustrative type of art, you know, similar to, like, you know, like, comic book style. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I’m thinking of, like, I’ll read, like, you know, like the \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Black Panther\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, the one that was written by Ta-Nehisi Coates.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Timothy B: \u003c/b>\u003cspan style=\"font-weight: 400\">I can’t think of who the illustrator is right now, but his work is is tight. You know, it’s like it’s highly detailed, kind of wanderlust. And whenever I think of my work, you know, I try to give that kind of a Candyland type feel, you know, but with, you know, a real sense of reality, \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\">That makes perfect sense. But I like what you say like surrealism, Afrofuturism, a little, you know, flavor to make it shine. And I could fully see that in your work, man. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I’m thinking about a design you did earlier this year that debuted for The Warriors during Black History Month, real big deal, man. Walk me through the process of designing that image. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Timothy B: \u003c/b>\u003cspan style=\"font-weight: 400\">I usually start with looking at different references. I would write down, like my intentions for the design, how I want it to feel, what I want it to represent. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Timothy B: \u003c/b>\u003cspan style=\"font-weight: 400\">That piece was like, it was themed around manifesting your life, your destiny, your dreams. And it was of a boy, you know, with his hands out and like his strength, his power is in his hands. Right? And my, you know, thinking about myself, you know, I’ve been able to manifest everything I want in life, you know, like I’m living the dream right now. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Man, it all came from my hands. You know, I’ve been able to travel the world. I’ve been able to buy the cars I want. I’ve been able to live in the space I want to live in. All because of these hands. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Behind him was, the elders, you know, that were standing together in prayer, praying over the boy. You know, I come from a big village as you know. My family has always been, ya know, real good at uplifting me in whatever I wanted to do. And, so, you know, that’s what that piece was about. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Having that image printed on hundreds of thousands of t-shirts inside of The Warriors’ Chase Center, what was it like for you to walk in that evening and see your art?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Timothy B: \u003c/b>\u003cspan style=\"font-weight: 400\">It was unreal. I would say it was unreal. Like, I don’t even think it really like resonated until afterwards. It was a reminder that I’ve came a long way. You know, like I, you know, I remember, you know, being in college telling myself that one day all this is going to make sense. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">So now, to be in this position where, like you say, I got t-shirts, I’m doing.. got t-shirts all over the arena, the Chase. You know, I could barely even afford to be in the arena but now, you know, I’m in partnership with The Warriors, you feel me. It was like, man, like, it’s just it’s euphoric. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">You had your son with you? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Timothy B: \u003c/b>\u003cspan style=\"font-weight: 400\">My son going everywhere with me. You feel me? Like he needs to know that anything is possible at a very young age.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">What does it mean for someone to come up to you and compliment your work and give you your flowers? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Timothy B: \u003c/b>\u003cspan style=\"font-weight: 400\">What that means to me is that one… people, people see me. And that feels good in itself to be seen, to be recognized, and also to be appreciated for the things that you love to do that you think no one sees. It’d be one thing if I was out here popular for, like, putting out negativity. But when you’re not with that, when you out here putting, you know, spreading love, that’s what you receive. Everywhere you go is just love. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Beyond putting paint where it ain’t and just doing an immaculate job at it, you’re also the founder of Good Air Studios, where you host live events and workshops for artists. Bringing it back a little bit, the last time we talked you were at Mouse Cat, and five years, a lot has changed. How was Good Air different from Mouse Cat? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Timothy B: \u003c/b>\u003cspan style=\"font-weight: 400\">The Mouse Cat, personal studio is just all about…it’s my living space, you know. This is where I create, where I sleep, you know, but I needed a space for the community. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Timothy B: \u003c/b>\u003cspan style=\"font-weight: 400\">For the longest time I’ve been doing this arts stuff, running this business by myself. I wanted to share this with other people. There’s a bunch of artists that look up to me and want to work by my side. And I want to be there to work in collaboration with them and teach them and learn from them. So I wanted to, you know, create a space for, you know, me and the community to connect and build. That’s how Good Air Studios came about. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For months, I was looking in this space, and I was just trying to, you know, figure out how I was going to pay that rent. So I reached out to all my closest friends and, you know, I pitched the idea to them, and then they believed in what I was talking about and now we here. \u003c/span>\u003cb> \u003c/b>\u003cspan style=\"font-weight: 400\">We makin’ enough money to pay rent, you know, but that’s a milestone. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\">That’s gotta be dope to see it happening, the wheels are turning.\u003c/span> \u003cspan style=\"font-weight: 400\">I’ve been to the space it’s high ceilings, you know, like old warehouse just covered in art everywhere, the ping pong tables out front. You got the vibes and all of that is important. But the… what you just said beyond just the esthetics, this is about having space for creatives to come together. Why do you think that’s important for creatives in the Bay area right now? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Timothy B: \u003c/b>\u003cspan style=\"font-weight: 400\">I feel like we as Black artists need a space for us, you know? And that’s what Good Air Studio is, you know? And it’s not just for Black artists, of course, but we are trying to encourage the Black community to come out and even those who don’t really draw like that and who want to learn, you know, we want to host workshops for them so they could develop the confidence to, you know, express themselves through that medium. We doing something really dope. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\"> I feel like you personally, and also the larger ideas that come from you and your circle are very representative of creatives in the Bay Area right now. And also like, looking forward, I feel like y’all have a foot on the pulse of the now and also have some say in what’s to come down the pipeline.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">And we’re coming to the end of producing this show. With that, there’s a slight relief that I don’t do the same thing over and over again and there’s some sadness of like losing this thing that I love, right? And you as a person who’s gone through some transitions in your life, what advice would you give to myself and the Rightnowish team as we go through this transition? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Timothy B: \u003c/b>\u003cspan style=\"font-weight: 400\">We all creatives here. So no matter what we doing, we are doing something..we gon do something dope. So I guess my advice is to, continue to move in purpose, you know, and continue to move, towards whatever it is that is fulfilling your spirit, you know, because that is the thing that is going to wake us all up. That’s the… you like, you starting this show, this is the thing that we all needed. We needed to hear these stories of, you know, all these local celebrities. We use these stories that just, you know, remind us of maybe what we doing or, maybe get an insight of, you know, what is out there. Yeah man, continue to explore and experiment, it will happen for you, I promise you. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Thank you. Thank you for sharing some insight into your life as a parent and also your life as an artist, man. And like, yeah, I can’t thank you enough because, you know, you changed the visual landscape at a place that we love. And that’s, that’s a hell of a task. So thank you. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">There’s this thing that happens in journalism sometimes, where the person you’re interviewing speaks your truths. And all you can do is nod in agreement as the tape rolls. Timothy B.’s thoughts on community interaction — how it’s fueled his art and community service, even while dealing with all that life can throw at him. Yeah, bingo. That’s been a big part of this Rightnowish experience. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">So Timothy B, Thank you again for your words of wisdom, your story and your work. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">To keep up with Timothy B’s visual arts, live events and more follow him on Instagram at timothyb underscore art. That’s t-i-m-o-t-h-y-b underscore art. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And, wow…. for the last time here go the show credits:\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This episode was hosted by me, Pendarvis Harshaw\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">Marisol Medina-Cadena is the Rightnowish producer. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Some of the music you heard in the episode was sourced from Audio Network.\u003cbr>\n\u003c/span>\u003cbr>\nChris Hambrick and Chris Egusa edited this episode.\u003cbr>\nChristopher Beale is our engineer.\u003cbr>\nThe Rightnowish team is also supported by Jen Chien, Ugur Dursun, Holly Kernan and Katie Sprenger.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">Aight yall. This is the end. Thanks again. As a wise person once told me: keep it lit. Peace. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Rightnowish is a KQED production.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>", "attributes": { "named": {}, "numeric": [] } }, { "type": "component", "content": "", "name": "ad", "attributes": { "named": { "label": "fullwidth" }, "numeric": [ "fullwidth" ] } }, { "type": "contentString", "content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>", "attributes": { "named": {}, "numeric": [] } }, { "type": "component", "content": "", "name": "ad", "attributes": { "named": { "label": "floatright" }, "numeric": [ "floatright" ] } }, { "type": "contentString", "content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003c/div>\u003c/p>", "attributes": { "named": {}, "numeric": [] } } ], "link": "/arts/13961188/rightnowishs-grand-finale-words-of-wisdom-from-timothy-b", "authors": [ "11491", "11528" ], "programs": [ "arts_8720" ], "categories": [ "arts_1", "arts_21759", "arts_70" ], "tags": [ "arts_1737", "arts_1143" ], "featImg": "arts_13961190", "label": "arts_8720" }, "arts_13960783": { "type": "posts", "id": "arts_13960783", "meta": { "index": "posts_1716263798", "site": "arts", "id": "13960783", "score": null, "sort": [ 1720692046000 ] }, "guestAuthors": [], "slug": "building-a-native-arts-and-culture-space-from-the-ground-up", "title": "Building a Native Arts and Culture Space From the Ground Up", "publishDate": 1720692046, "format": "audio", "headTitle": "Building a Native Arts and Culture Space From the Ground Up | KQED", "labelTerm": { "term": 8720, "site": "arts" }, "content": "\u003cp>\u003ca href=\"#episode-transcript\">\u003ci>\u003cspan style=\"font-weight: 400\">View the full episode transcript.\u003c/span>\u003c/i>\u003c/a>\u003c/p>\n\u003cp>The dense green woods of Sonoma County’s Forestville are home to a two-story music studio and residence that runs on solar energy. Known as \u003ca href=\"https://nestbuildcreate.com/\">The NEST\u003c/a>, the mocha colored building is made completely of wood, clay and cob; and it was created for the purpose of serving Native artists.\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/raskdee/\" target=\"_blank\" rel=\"noopener\">Ras K’dee\u003c/a>, a Pomo-African hip-hop musician who grew up in the area, is the caretaker of the space, but he didn’t build it alone. He worked with over 350 people, many of them young folks from youth groups like \u003ca href=\"http://podersf.org\">PODER\u003c/a>, who took the 70-mile trip from San Francisco to this town by the Russian River, or Bidapte, “big river” in the Pomo language.\u003c/p>\n\u003cfigure id=\"attachment_13960798\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13960798 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ras-KDee-by-Pendarvis-Harshaw-7-800x1067.jpg\" alt=\"Ras K'dee stands in front of the NEST, a solar powered hub for Native artists in Forestville, CA. \" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ras-KDee-by-Pendarvis-Harshaw-7-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ras-KDee-by-Pendarvis-Harshaw-7-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ras-KDee-by-Pendarvis-Harshaw-7-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ras-KDee-by-Pendarvis-Harshaw-7-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ras-KDee-by-Pendarvis-Harshaw-7-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ras-KDee-by-Pendarvis-Harshaw-7-1536x2048.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ras-KDee-by-Pendarvis-Harshaw-7-scaled.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ras K’dee stands in front of the NEST, a solar powered hub for Native artists in Forestville, CA. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In addition to being the founder of \u003ca href=\"https://www.facebook.com/snagmagazine/\" target=\"_blank\" rel=\"noopener\">SNAG Magazine\u003c/a>, an Indigenous periodical that has been in print for over two decades, Ras K’dee is also a DJ and emcee in the group \u003ca href=\"https://www.audiopharmacy.com/\" target=\"_blank\" rel=\"noopener\">Audiopharmacy\u003c/a>. This week on Rightnowish, we talk about the importance of working together to create spaces for artists to grow, and the ins and outs of land reclamation in the North Bay.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC7274032882\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003ch2 id=\"episode-transcript\">Episode Transcript\u003c/h2>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">This is a computer-generated transcript. While our team has reviewed it, there may be errors.\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw\u003c/b>\u003cspan style=\"font-weight: 400\">, \u003c/span>\u003cb>Host:\u003c/b>\u003cspan style=\"font-weight: 400\"> What’s up Rightnowish listeners, it’s your host Pendarvis Harshaw\u003c/span>\u003cspan style=\"font-weight: 400\">. \u003c/span>\u003cspan style=\"font-weight: 400\">I don’t know about you but being in a forest soothes my soul. I got to feel that special bliss a few weeks back when I was in Sonoma County, specifically in the town of Forestville. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Rightnowish producer Marisol Medina-Cadena and I got to visit a place called “The Nest.” It’s a quarter acre of land nestled among lush trees, and it serves as an arts and culture hub built by and for Indigenous folks. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Over the last 6 years, it’s been the publishing home of a Native arts magazine called SNAG, which features poems, essays, photographs, and collages about Native identity and activism. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The Nest has also been a space for Indigenous folks across Northern California to convene for permaculture workshops, ceremonies and community feasts, as well as trainings on natural building. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And what came out of those training sessions is the construction of a two story art studio made from cob.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Facilitating these trainings is a DJ and musician who started SNAG magazine. His name is Ras K’dee. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Ras K’dee, Guest\u003c/b>\u003cspan style=\"font-weight: 400\">: I’m Pomo. My ancestry is from right here. The river that flows down that we’re on right now is Bidapte, Big River. And then Ashokawna is where our people are from. And so we’re on our traditional lands right here, this is our traditional grounds.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Ras K’dee sees The Nest as the intersection of creativity and environmental responsibility. And so he, with the help of other Indigenous folks have built this place to be completely fueled by solar panels. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">We’ll hear how Indigenous creativity is taking shape at The Nest right after this. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music playing]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> About 15 minutes away from the Russian River is The Nest, a space built by and for Native people. Ras K’dee who was born and raised in Sonoma County was able to purchase this plot of land with the inheritance he got from his grandmother selling her house. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Ras K’dee, Marisol and I stand outside and take in the beauty.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Ras K’dee: \u003c/b>\u003cspan style=\"font-weight: 400\">We had a land blessing from my, from my grandmother and my aunt, came and did like a land blessing, in the Pomo way, where they sing songs and offer prayers and, and, had our had our community here that were coming to help\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">.\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">We got the land in 2012. But slowly, we’ve been building building it up. We actually intentionally didn’t build for, like, four years. We just kind of, like, watch the land and, during in the winter, during the spring, during the summer and just kind of in the fall, kind of see the different seasons and… Four years of that and like slowly just kind of clearing and like putting garden beds and stuff and planting trees.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">This slow process of tending the land allowed Ras K’dee to be intentional about how to build out the space.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The first structure he envisioned was the art studio. It’s brown, and 2 stories tall with hexagon sides and has a roof that extends over the sides. It kinda looks like a trumpet mushroom. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">He designed it by thinking about what would be conducive for creating. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Ras K’dee:\u003c/b>\u003cspan style=\"font-weight: 400\"> I was visualizing “what do painters or artists need?” You know, taller ceilings, you know, like, open like, clay wall where they can, like, you know, put their stuff up. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">And the construction of this is completely made from cob.\u003c/span> \u003cb>\u003c/b>\u003c/p>\n\u003cp>\u003cb>Ras K’dee: \u003c/b>\u003cspan style=\"font-weight: 400\">The building is sitting on mortared stone. And then it goes up about three feet. And then, on top of that is cob, which is the plaster of clay and straw and sand, mixed together. And it makes like a kind you know, really strong, like, kind of like concrete, almost. And so then you have, like, a foot of that and then from that going up is all pallet wall. So those are like pallets that are, that are stuffed with straw and plastered over.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Ras K’dee: \u003c/b>\u003cspan style=\"font-weight: 400\">Structurally it’s got wood and it’s got these big lumber, lumber pieces that are holding it up. And inside you’ll see there’s beams going across. \u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cb>Marisol Medina-Cadena, Rightnowish Producer: \u003c/b>\u003cspan style=\"font-weight: 400\">Is it redwood beams?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Ras K’dee : \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah Redwood. Yeah. Wanna go and check it out?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> Yeah, let’s go inside.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[sounds of footsteps]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Ras K’dee encourages us to touch the cob walls to feel all the love that was poured into making it. We do and it has a calming quality to it. He says, it’s the energy of all the people who he invited to help build it. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Ras K’dee: \u003c/b>\u003cspan style=\"font-weight: 400\">We had about 350 people work on the structure, over 350 people and mostly youth. There’s a lot of young people, a lot of youth groups. We had PODER and their youth group come up. We had a bunch of families, like friends with families came up.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Ras K Dee: \u003c/b>\u003ci>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">We had my friend Tomaggio and his family… were some of the first people here helping. They had a three year old and a one year old at the time. Inside is like a plastering and mixing area. And so you just put a tarp down and put all the ingredients in. And so the youth are just in there, just, you know jumping around, having fun. And like, we went to lunch and we were eating and, you know, just visiting and having a break and we came back and like the whole thing is like, mixed. We’re like, “oh man, you guys, you guys did the work, you know”?\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">But it was really cool like seeing the young people, yeah, just bringing in the clay. Like, the three year old is like giving it to the one year old or the one year old giving it to the three year old and three year old is like, bringing it in to the parents and then the parents are like, putting it on the wall. So that’s kind of like how this started in here.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> How did you even know how to do sustainable type of building?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Ras K’dee:\u003c/b>\u003cspan style=\"font-weight: 400\"> I’m pretty self-taught. I also like went to a lot of workshops. But, really got my chops in Hoopa. At the Hoopa Rez, we built a straw bale structure. It was little bit different of, of a kind of a building. But you basically use the straw bales and you cut them and make them look kind of like Legos. So they’re like… and stack them and then you plaster that. And that that structure is still, still standing.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cspan style=\"font-weight: 400\">That really like gave me a perspective like what it takes and the amount of people and the amount of work that it takes to do this kind of building. But this is my first building that I built from scratch.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> When I was touching the wall, like you said, I noticed it was very cool. Can you talk about how the material itself is good for winter and summer? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Ras K’dee:\u003c/b>\u003cspan style=\"font-weight: 400\"> Yeah, you know, the walls themselves absorb you know, the humidity, the moisture. And the clay walls, they’re like, really they’re known to, be a great barrier in terms of like, creating a more, just relaxed temperature inside. And what the clay does is it absorbs like the humidity and the kind of the, the heat, the moisture and kind of captures it. And when it starts to cool at night, it starts to release it inside. And so it keeps the building naturally fluctuating between just a comfortable temperature. But you’ll notice when we walk outside even, you know that it’s much cooler inside of here.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> Yeah\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah\u003c/span>\u003c/p>\n\u003cp>\u003cb>Ras K’dee:\u003c/b>\u003cspan style=\"font-weight: 400\"> Ya know, behind building a structure like this is that it’s nontoxic. You don’t have all the waste chemicals. You don’t have all the waste number one from from the construction industry. There’s a lot of waste. Like, I don’t know if you ever been to a construction site, but you look in the dumpsters, it’s like, full of, like, perfectly good, usable materials, but it’s just stuff they cut off or stuff they’re not going to use. So it’s it’s… I pulled a lot of the lumber for this structure out of dumpsters actually, because people just throw away perfectly good two by sixes.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">This room is essentially a sleeping den for Ras K’dee. A mattress takes up the full space and original art pieces from visiting artists hang on the walls. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Next Ras K’dee invites us to check the upstairs level of this structure. For the last couple of years it’s served as a creative studio for visiting artists to retreat and work on their own visual art. Most recently, they had an Anishinaabe artist from Detroit stay and create graphics and articles for SNAG magazine.\u003cbr>\n\u003c/span>\u003cb>\u003cbr>\n\u003c/b>\u003ci>\u003cspan style=\"font-weight: 400\">[Ras’Kdee talking]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">We walk up a flight of stairs made from redwood trees.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Ras K’dee:\u003c/b>\u003cspan style=\"font-weight: 400\"> Okay. Watch your head here this is a little low this side. Gotta duck down there. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> It’s cool up here.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> It’s a fully fleshed out recording space. There’s acoustic and electric guitars hanging on the walls. a desk with 2 keyboards, sound mixers and recording microphones. The wooden roof has a skylight so the sun shines into the studio and provides beautiful natural lighting that feels conducive for getting the creative juices flowing.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Ras K’dee has even recorded a couple albums here with his group Audiopharmacy. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Ras K Dee\u003c/b>\u003cspan style=\"font-weight: 400\">:\u003c/span> \u003cspan style=\"font-weight: 400\">The founders of the group are all kind of like rooted in hip hop and hip hop, I would say is, you know, really a music that’s founded on sampling. And so it literally sampled every genre, you know, and so that’s kind of like what we are. We’re like, we are every genre, you know. But I play keys, is my main instrument that I, that I grew up playing. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">After this short tour, we sit down to talk more about the vision behind The Nest.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">You live here as well? What’s your day to day life like here?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Ras K’dee\u003c/b>\u003cspan style=\"font-weight: 400\">: Taking care of the garden is a big part of my day. Waking up in the morning, watering the garden, doing some weeding. I like to, I like to do a little bit of work. Work in the garden in the morning, and then jumping on my other work that I do. I’m also a musician and artist, so it’s a busy time. You know, we got gigs and stuff, so there’s a lot of calls and stuff happening around negotiating and figuring out gigs. But yeah, just supporting artists, you know is kind of what I do here.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Right now, I’m working on a mural project in Windsor, we’re, we’ve got like, a 100 foot wall over there and so bringing in the artists for that. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> So, juggling the arts, also juggling all that comes with managing nature. You’re in the middle of nowhere. What’s nightlife like out here?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Ras K’dee:\u003c/b>\u003cspan style=\"font-weight: 400\"> Quiet. it’s quiet. Like all those scary movies start creeping in, you know, you’re like, man, it’s dark out here. Like, what’s out here, like, you know, mountain lions, bears, you know, like you start thinking about things. And so it took me a while to like to like, unlearn that programing, you know, like to like, get out of that like, cycle, like fear and just be like, oh, it’s just nature.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Being out here alone and just kind of like in the elements, I started to really enjoy it and really enjoy that that peace,connecting to to that darkness in a different way. But, there’s constantly people coming through, especially during this, this time of year. We do like a men’s healing circle. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> As a kid, were you the builder type?\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cb>Ras K’dee:\u003c/b>\u003cspan style=\"font-weight: 400\"> I grew up in Sonoma County. I grew up, not too far from. And in northern Santa Rosa. Where we grew up, it was like the end of town, like our street was like the last street in town, basically. And like, as soon as you leave there, it’s just like hills,and so like, we would be off in the hills, you know, with our B-B guns, our slingshots. And it was like, you know, we go out all our homies, like 4 or 5 of us, you know, me and my brother, my older brother. And we would, we would just be out all day long. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">We’d have different forts built. It was always kind of like in my, back of my head is like, got to get to the forest, got to get back to the forest and build that tree fort. As an adult, you know, this is kind of like a representation of that I think.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> In this part of the region in Sonoma County, there’s a couple of other organizations that are doing similar work, like EARTHseed, like Heron Shadow. Are you in communication with these organizations? And is there like a movement occurring?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Ras K’dee:\u003c/b>\u003cspan style=\"font-weight: 400\"> There’s definitely a movement. Yeah. It’s pretty special, actually, to be be a part of it. I am in community with a lot of a lot of the organizations you mentioned. I was just deejaying, actually, at EARTHseed’s “Black to Land” event last week. They open up their, their space to, you know, to, to the Black community. We we all collaborate. We all connect. And Heron Shadow has a farm, so they have more food and, they do like, Indigenous food and Indigenous seeds. They bring back seeds. And so it’s perfect because, you know, like we go over there like, do an exchange or do a collaboration and they gift us this with seeds and gift us with plants to bring back here to plant. So it’s kind of like this, you know, this sharing of resources.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> Being in your space and you talking about all the community groups that come here, it makes me think about how other land back efforts we’re seeing in NorCal are very different, in that it’s like a city, you know, giving a plot of land to a formal nonprofit to steward and tend. But this is like your private space built from your like, family equity. And talk to us about that decision to open up your personal space so that it is a collective thing.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Ras K’dee:\u003c/b>\u003cspan style=\"font-weight: 400\"> This building couldn’t have been made without, you know, people coming. I think it was more of a prayer, you know, like I want to I want to put the prayer here, for this space to be a community space and for it to be, a resource for the community,\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And so we put the prayer in and like, you know, kind of like not knowing, you know, if the community was going to show up, just like, oh, let’s start doing this, this crazy project and see, see who shows up kind of thing and the community, community showed up.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> I’m wondering when you’re either in the garden or just sitting here with your dog Panda taking in the breeze, the sounds, how do you feel? Or what are you thinking about what this land means for you?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Ras K’dee\u003c/b>\u003cspan style=\"font-weight: 400\">: What I’ve gained is, I guess, a sense of peace. And coming into this land with also like a lot of work to do to like prepare it, it felt like overwhelming, you know, and it felt like, you know, like impossible at first because it was an empty lot and it was just overgrown. And, you know, trees had fallen and it hadn’t been taken care for many years. And yeah, just doing the work to, like, slowly heal the land and steward it in a good way, you know, has really just helped me to like, to heal myself,\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">As Indigenous people, you know, we see it as like as, like a generational commitment to the land. You know, like, we’re going to be here for generations. We’re not just here for build our house right now and then sell it and then, you know, move somewhere else, you know, or to Mexico or whatever, you know. What do they call them? Digital nomads. You know, like we’re not thinking in terms of that. We’re thinking in terms of generations.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">So what are we building here right now that that we can leave generationally for, for our for our youth in the future, right. I don’t have youth of my own right now, but I have young people that I that I work with. This is a lifelong project. It’s not a temporary thing.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">We were creating this space as kind of a showcase place where people can come and see, you know, a building that’s that’s cob. And they could touch the wall and feel and see what it looks like and what the different building techniques are and learn about the different building techniques and then be like, oh, I want to, I want to build an adobe, you know, adobe dome. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">But really, really just incubate, incubate art that changes the world, you know, that’s that’s that’s why the space is here. So those are, those are the things that we want to do here and invite the artists that can bring about that change that we need in this world.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> Ras K’dee, we can’t thank you enough. Much appreciation to you for welcoming us to your corner of Sonoma County to see and experience The Nest.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The Nest is still evolving and Ras K’dee has plans to build a yurt and a dance studio to be able to host more classes and workshops. To stay updated on The Nest follow along on Instagram @SNAG.magazine.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And to keep up Ras K’dee’s art and music projects, you can check out his IG @raskdee that’s spelled R-A-S-K-D-E-E.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This episode was hosted by me, Pendarvis Harshaw. Marisol Medina-Cadena produced this episode. Chris Hambrick held it down for edits on this one. Christopher Beale engineered this joint. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The Rightnowish team is also supported by Jen Chien, Ugur Dursun, Holly Kernan, Cesar Saldaña, and Katie Sprenger. Rightnowish is a KQED production.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Until next time, peace!\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n", "blocks": [], "excerpt": "Ras K'dee is DJ, emcee and founder of SNAG Magazine. Now he's building a studio for Indigenous artists. ", "status": "publish", "parent": 0, "modified": 1726875356, "stats": { "hasAudio": true, "hasVideo": false, "hasChartOrMap": false, "iframeSrcs": [], "hasGoogleForm": false, "hasGallery": false, "hasHearkenModule": false, "hasPolis": false, "paragraphCount": 77, "wordCount": 3688 }, "headData": { "title": "Building a Native Arts and Culture Space From the Ground Up | KQED", "description": "This week on Rightnowish, we talk to Ras K'dee, a DJ, emcee and the founder of SNAG Magazine. Now he's building an arts and culture center to help Indigenous artists to grow.", "ogTitle": "", "ogDescription": "", "ogImgId": "", "twTitle": "", "twDescription": "", "twImgId": "", "socialDescription": "This week on Rightnowish, we talk to Ras K'dee, a DJ, emcee and the founder of SNAG Magazine. Now he's building an arts and culture center to help Indigenous artists to grow.", "schema": { "@context": "http://schema.org", "@type": "Article", "headline": "Building a Native Arts and Culture Space From the Ground Up", "datePublished": "2024-07-11T03:00:46-07:00", "dateModified": "2024-09-20T16:35:56-07:00", "image": "https://cdn.kqed.org/wp-content/uploads/2020/02/[email protected]" } }, "audioUrl": "https://www.podtrac.com/pts/redirect.mp3/chrt.fm/track/G6C7C3/traffic.megaphone.fm/KQINC7274032882.mp3?updated=1720634574", "sticky": false, "templateType": "standard", "featuredImageType": "standard", "excludeFromSiteSearch": "Include", "articleAge": "0", "path": "/arts/13960783/building-a-native-arts-and-culture-space-from-the-ground-up", "audioTrackLength": null, "parsedContent": [ { "type": "contentString", "content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"#episode-transcript\">\u003ci>\u003cspan style=\"font-weight: 400\">View the full episode transcript.\u003c/span>\u003c/i>\u003c/a>\u003c/p>\n\u003cp>The dense green woods of Sonoma County’s Forestville are home to a two-story music studio and residence that runs on solar energy. Known as \u003ca href=\"https://nestbuildcreate.com/\">The NEST\u003c/a>, the mocha colored building is made completely of wood, clay and cob; and it was created for the purpose of serving Native artists.\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/raskdee/\" target=\"_blank\" rel=\"noopener\">Ras K’dee\u003c/a>, a Pomo-African hip-hop musician who grew up in the area, is the caretaker of the space, but he didn’t build it alone. He worked with over 350 people, many of them young folks from youth groups like \u003ca href=\"http://podersf.org\">PODER\u003c/a>, who took the 70-mile trip from San Francisco to this town by the Russian River, or Bidapte, “big river” in the Pomo language.\u003c/p>\n\u003cfigure id=\"attachment_13960798\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13960798 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ras-KDee-by-Pendarvis-Harshaw-7-800x1067.jpg\" alt=\"Ras K'dee stands in front of the NEST, a solar powered hub for Native artists in Forestville, CA. \" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ras-KDee-by-Pendarvis-Harshaw-7-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ras-KDee-by-Pendarvis-Harshaw-7-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ras-KDee-by-Pendarvis-Harshaw-7-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ras-KDee-by-Pendarvis-Harshaw-7-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ras-KDee-by-Pendarvis-Harshaw-7-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ras-KDee-by-Pendarvis-Harshaw-7-1536x2048.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ras-KDee-by-Pendarvis-Harshaw-7-scaled.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ras K’dee stands in front of the NEST, a solar powered hub for Native artists in Forestville, CA. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In addition to being the founder of \u003ca href=\"https://www.facebook.com/snagmagazine/\" target=\"_blank\" rel=\"noopener\">SNAG Magazine\u003c/a>, an Indigenous periodical that has been in print for over two decades, Ras K’dee is also a DJ and emcee in the group \u003ca href=\"https://www.audiopharmacy.com/\" target=\"_blank\" rel=\"noopener\">Audiopharmacy\u003c/a>. This week on Rightnowish, we talk about the importance of working together to create spaces for artists to grow, and the ins and outs of land reclamation in the North Bay.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC7274032882\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003ch2 id=\"episode-transcript\">Episode Transcript\u003c/h2>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">This is a computer-generated transcript. While our team has reviewed it, there may be errors.\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw\u003c/b>\u003cspan style=\"font-weight: 400\">, \u003c/span>\u003cb>Host:\u003c/b>\u003cspan style=\"font-weight: 400\"> What’s up Rightnowish listeners, it’s your host Pendarvis Harshaw\u003c/span>\u003cspan style=\"font-weight: 400\">. \u003c/span>\u003cspan style=\"font-weight: 400\">I don’t know about you but being in a forest soothes my soul. I got to feel that special bliss a few weeks back when I was in Sonoma County, specifically in the town of Forestville. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Rightnowish producer Marisol Medina-Cadena and I got to visit a place called “The Nest.” It’s a quarter acre of land nestled among lush trees, and it serves as an arts and culture hub built by and for Indigenous folks. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Over the last 6 years, it’s been the publishing home of a Native arts magazine called SNAG, which features poems, essays, photographs, and collages about Native identity and activism. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The Nest has also been a space for Indigenous folks across Northern California to convene for permaculture workshops, ceremonies and community feasts, as well as trainings on natural building. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And what came out of those training sessions is the construction of a two story art studio made from cob.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Facilitating these trainings is a DJ and musician who started SNAG magazine. His name is Ras K’dee. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Ras K’dee, Guest\u003c/b>\u003cspan style=\"font-weight: 400\">: I’m Pomo. My ancestry is from right here. The river that flows down that we’re on right now is Bidapte, Big River. And then Ashokawna is where our people are from. And so we’re on our traditional lands right here, this is our traditional grounds.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Ras K’dee sees The Nest as the intersection of creativity and environmental responsibility. And so he, with the help of other Indigenous folks have built this place to be completely fueled by solar panels. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">We’ll hear how Indigenous creativity is taking shape at The Nest right after this. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music playing]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> About 15 minutes away from the Russian River is The Nest, a space built by and for Native people. Ras K’dee who was born and raised in Sonoma County was able to purchase this plot of land with the inheritance he got from his grandmother selling her house. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Ras K’dee, Marisol and I stand outside and take in the beauty.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Ras K’dee: \u003c/b>\u003cspan style=\"font-weight: 400\">We had a land blessing from my, from my grandmother and my aunt, came and did like a land blessing, in the Pomo way, where they sing songs and offer prayers and, and, had our had our community here that were coming to help\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">.\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">We got the land in 2012. But slowly, we’ve been building building it up. We actually intentionally didn’t build for, like, four years. We just kind of, like, watch the land and, during in the winter, during the spring, during the summer and just kind of in the fall, kind of see the different seasons and… Four years of that and like slowly just kind of clearing and like putting garden beds and stuff and planting trees.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">This slow process of tending the land allowed Ras K’dee to be intentional about how to build out the space.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The first structure he envisioned was the art studio. It’s brown, and 2 stories tall with hexagon sides and has a roof that extends over the sides. It kinda looks like a trumpet mushroom. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">He designed it by thinking about what would be conducive for creating. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Ras K’dee:\u003c/b>\u003cspan style=\"font-weight: 400\"> I was visualizing “what do painters or artists need?” You know, taller ceilings, you know, like, open like, clay wall where they can, like, you know, put their stuff up. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">And the construction of this is completely made from cob.\u003c/span> \u003cb>\u003c/b>\u003c/p>\n\u003cp>\u003cb>Ras K’dee: \u003c/b>\u003cspan style=\"font-weight: 400\">The building is sitting on mortared stone. And then it goes up about three feet. And then, on top of that is cob, which is the plaster of clay and straw and sand, mixed together. And it makes like a kind you know, really strong, like, kind of like concrete, almost. And so then you have, like, a foot of that and then from that going up is all pallet wall. So those are like pallets that are, that are stuffed with straw and plastered over.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Ras K’dee: \u003c/b>\u003cspan style=\"font-weight: 400\">Structurally it’s got wood and it’s got these big lumber, lumber pieces that are holding it up. And inside you’ll see there’s beams going across. \u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cb>Marisol Medina-Cadena, Rightnowish Producer: \u003c/b>\u003cspan style=\"font-weight: 400\">Is it redwood beams?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Ras K’dee : \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah Redwood. Yeah. Wanna go and check it out?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> Yeah, let’s go inside.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[sounds of footsteps]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Ras K’dee encourages us to touch the cob walls to feel all the love that was poured into making it. We do and it has a calming quality to it. He says, it’s the energy of all the people who he invited to help build it. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Ras K’dee: \u003c/b>\u003cspan style=\"font-weight: 400\">We had about 350 people work on the structure, over 350 people and mostly youth. There’s a lot of young people, a lot of youth groups. We had PODER and their youth group come up. We had a bunch of families, like friends with families came up.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Ras K Dee: \u003c/b>\u003ci>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">We had my friend Tomaggio and his family… were some of the first people here helping. They had a three year old and a one year old at the time. Inside is like a plastering and mixing area. And so you just put a tarp down and put all the ingredients in. And so the youth are just in there, just, you know jumping around, having fun. And like, we went to lunch and we were eating and, you know, just visiting and having a break and we came back and like the whole thing is like, mixed. We’re like, “oh man, you guys, you guys did the work, you know”?\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">But it was really cool like seeing the young people, yeah, just bringing in the clay. Like, the three year old is like giving it to the one year old or the one year old giving it to the three year old and three year old is like, bringing it in to the parents and then the parents are like, putting it on the wall. So that’s kind of like how this started in here.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> How did you even know how to do sustainable type of building?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Ras K’dee:\u003c/b>\u003cspan style=\"font-weight: 400\"> I’m pretty self-taught. I also like went to a lot of workshops. But, really got my chops in Hoopa. At the Hoopa Rez, we built a straw bale structure. It was little bit different of, of a kind of a building. But you basically use the straw bales and you cut them and make them look kind of like Legos. So they’re like… and stack them and then you plaster that. And that that structure is still, still standing.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cspan style=\"font-weight: 400\">That really like gave me a perspective like what it takes and the amount of people and the amount of work that it takes to do this kind of building. But this is my first building that I built from scratch.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> When I was touching the wall, like you said, I noticed it was very cool. Can you talk about how the material itself is good for winter and summer? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Ras K’dee:\u003c/b>\u003cspan style=\"font-weight: 400\"> Yeah, you know, the walls themselves absorb you know, the humidity, the moisture. And the clay walls, they’re like, really they’re known to, be a great barrier in terms of like, creating a more, just relaxed temperature inside. And what the clay does is it absorbs like the humidity and the kind of the, the heat, the moisture and kind of captures it. And when it starts to cool at night, it starts to release it inside. And so it keeps the building naturally fluctuating between just a comfortable temperature. But you’ll notice when we walk outside even, you know that it’s much cooler inside of here.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> Yeah\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah\u003c/span>\u003c/p>\n\u003cp>\u003cb>Ras K’dee:\u003c/b>\u003cspan style=\"font-weight: 400\"> Ya know, behind building a structure like this is that it’s nontoxic. You don’t have all the waste chemicals. You don’t have all the waste number one from from the construction industry. There’s a lot of waste. Like, I don’t know if you ever been to a construction site, but you look in the dumpsters, it’s like, full of, like, perfectly good, usable materials, but it’s just stuff they cut off or stuff they’re not going to use. So it’s it’s… I pulled a lot of the lumber for this structure out of dumpsters actually, because people just throw away perfectly good two by sixes.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">This room is essentially a sleeping den for Ras K’dee. A mattress takes up the full space and original art pieces from visiting artists hang on the walls. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Next Ras K’dee invites us to check the upstairs level of this structure. For the last couple of years it’s served as a creative studio for visiting artists to retreat and work on their own visual art. Most recently, they had an Anishinaabe artist from Detroit stay and create graphics and articles for SNAG magazine.\u003cbr>\n\u003c/span>\u003cb>\u003cbr>\n\u003c/b>\u003ci>\u003cspan style=\"font-weight: 400\">[Ras’Kdee talking]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">We walk up a flight of stairs made from redwood trees.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Ras K’dee:\u003c/b>\u003cspan style=\"font-weight: 400\"> Okay. Watch your head here this is a little low this side. Gotta duck down there. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> It’s cool up here.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> It’s a fully fleshed out recording space. There’s acoustic and electric guitars hanging on the walls. a desk with 2 keyboards, sound mixers and recording microphones. The wooden roof has a skylight so the sun shines into the studio and provides beautiful natural lighting that feels conducive for getting the creative juices flowing.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Ras K’dee has even recorded a couple albums here with his group Audiopharmacy. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Ras K Dee\u003c/b>\u003cspan style=\"font-weight: 400\">:\u003c/span> \u003cspan style=\"font-weight: 400\">The founders of the group are all kind of like rooted in hip hop and hip hop, I would say is, you know, really a music that’s founded on sampling. And so it literally sampled every genre, you know, and so that’s kind of like what we are. We’re like, we are every genre, you know. But I play keys, is my main instrument that I, that I grew up playing. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">After this short tour, we sit down to talk more about the vision behind The Nest.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">You live here as well? What’s your day to day life like here?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Ras K’dee\u003c/b>\u003cspan style=\"font-weight: 400\">: Taking care of the garden is a big part of my day. Waking up in the morning, watering the garden, doing some weeding. I like to, I like to do a little bit of work. Work in the garden in the morning, and then jumping on my other work that I do. I’m also a musician and artist, so it’s a busy time. You know, we got gigs and stuff, so there’s a lot of calls and stuff happening around negotiating and figuring out gigs. But yeah, just supporting artists, you know is kind of what I do here.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Right now, I’m working on a mural project in Windsor, we’re, we’ve got like, a 100 foot wall over there and so bringing in the artists for that. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> So, juggling the arts, also juggling all that comes with managing nature. You’re in the middle of nowhere. What’s nightlife like out here?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Ras K’dee:\u003c/b>\u003cspan style=\"font-weight: 400\"> Quiet. it’s quiet. Like all those scary movies start creeping in, you know, you’re like, man, it’s dark out here. Like, what’s out here, like, you know, mountain lions, bears, you know, like you start thinking about things. And so it took me a while to like to like, unlearn that programing, you know, like to like, get out of that like, cycle, like fear and just be like, oh, it’s just nature.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Being out here alone and just kind of like in the elements, I started to really enjoy it and really enjoy that that peace,connecting to to that darkness in a different way. But, there’s constantly people coming through, especially during this, this time of year. We do like a men’s healing circle. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> As a kid, were you the builder type?\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cb>Ras K’dee:\u003c/b>\u003cspan style=\"font-weight: 400\"> I grew up in Sonoma County. I grew up, not too far from. And in northern Santa Rosa. Where we grew up, it was like the end of town, like our street was like the last street in town, basically. And like, as soon as you leave there, it’s just like hills,and so like, we would be off in the hills, you know, with our B-B guns, our slingshots. And it was like, you know, we go out all our homies, like 4 or 5 of us, you know, me and my brother, my older brother. And we would, we would just be out all day long. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">We’d have different forts built. It was always kind of like in my, back of my head is like, got to get to the forest, got to get back to the forest and build that tree fort. As an adult, you know, this is kind of like a representation of that I think.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> In this part of the region in Sonoma County, there’s a couple of other organizations that are doing similar work, like EARTHseed, like Heron Shadow. Are you in communication with these organizations? And is there like a movement occurring?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Ras K’dee:\u003c/b>\u003cspan style=\"font-weight: 400\"> There’s definitely a movement. Yeah. It’s pretty special, actually, to be be a part of it. I am in community with a lot of a lot of the organizations you mentioned. I was just deejaying, actually, at EARTHseed’s “Black to Land” event last week. They open up their, their space to, you know, to, to the Black community. We we all collaborate. We all connect. And Heron Shadow has a farm, so they have more food and, they do like, Indigenous food and Indigenous seeds. They bring back seeds. And so it’s perfect because, you know, like we go over there like, do an exchange or do a collaboration and they gift us this with seeds and gift us with plants to bring back here to plant. So it’s kind of like this, you know, this sharing of resources.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> Being in your space and you talking about all the community groups that come here, it makes me think about how other land back efforts we’re seeing in NorCal are very different, in that it’s like a city, you know, giving a plot of land to a formal nonprofit to steward and tend. But this is like your private space built from your like, family equity. And talk to us about that decision to open up your personal space so that it is a collective thing.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Ras K’dee:\u003c/b>\u003cspan style=\"font-weight: 400\"> This building couldn’t have been made without, you know, people coming. I think it was more of a prayer, you know, like I want to I want to put the prayer here, for this space to be a community space and for it to be, a resource for the community,\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And so we put the prayer in and like, you know, kind of like not knowing, you know, if the community was going to show up, just like, oh, let’s start doing this, this crazy project and see, see who shows up kind of thing and the community, community showed up.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> I’m wondering when you’re either in the garden or just sitting here with your dog Panda taking in the breeze, the sounds, how do you feel? Or what are you thinking about what this land means for you?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Ras K’dee\u003c/b>\u003cspan style=\"font-weight: 400\">: What I’ve gained is, I guess, a sense of peace. And coming into this land with also like a lot of work to do to like prepare it, it felt like overwhelming, you know, and it felt like, you know, like impossible at first because it was an empty lot and it was just overgrown. And, you know, trees had fallen and it hadn’t been taken care for many years. And yeah, just doing the work to, like, slowly heal the land and steward it in a good way, you know, has really just helped me to like, to heal myself,\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">As Indigenous people, you know, we see it as like as, like a generational commitment to the land. You know, like, we’re going to be here for generations. We’re not just here for build our house right now and then sell it and then, you know, move somewhere else, you know, or to Mexico or whatever, you know. What do they call them? Digital nomads. You know, like we’re not thinking in terms of that. We’re thinking in terms of generations.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">So what are we building here right now that that we can leave generationally for, for our for our youth in the future, right. I don’t have youth of my own right now, but I have young people that I that I work with. This is a lifelong project. It’s not a temporary thing.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">We were creating this space as kind of a showcase place where people can come and see, you know, a building that’s that’s cob. And they could touch the wall and feel and see what it looks like and what the different building techniques are and learn about the different building techniques and then be like, oh, I want to, I want to build an adobe, you know, adobe dome. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">But really, really just incubate, incubate art that changes the world, you know, that’s that’s that’s why the space is here. So those are, those are the things that we want to do here and invite the artists that can bring about that change that we need in this world.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> Ras K’dee, we can’t thank you enough. Much appreciation to you for welcoming us to your corner of Sonoma County to see and experience The Nest.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The Nest is still evolving and Ras K’dee has plans to build a yurt and a dance studio to be able to host more classes and workshops. To stay updated on The Nest follow along on Instagram @SNAG.magazine.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And to keep up Ras K’dee’s art and music projects, you can check out his IG @raskdee that’s spelled R-A-S-K-D-E-E.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This episode was hosted by me, Pendarvis Harshaw. Marisol Medina-Cadena produced this episode. Chris Hambrick held it down for edits on this one. Christopher Beale engineered this joint. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The Rightnowish team is also supported by Jen Chien, Ugur Dursun, Holly Kernan, Cesar Saldaña, and Katie Sprenger. Rightnowish is a KQED production.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Until next time, peace!\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>", "attributes": { "named": {}, "numeric": [] } }, { "type": "component", "content": "", "name": "ad", "attributes": { "named": { "label": "fullwidth" }, "numeric": [ "fullwidth" ] } }, { "type": "contentString", "content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>", "attributes": { "named": {}, "numeric": [] } }, { "type": "component", "content": "", "name": "ad", "attributes": { "named": { "label": "floatright" }, "numeric": [ "floatright" ] } }, { "type": "contentString", "content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003c/div>\u003c/p>", "attributes": { "named": {}, "numeric": [] } } ], "link": "/arts/13960783/building-a-native-arts-and-culture-space-from-the-ground-up", "authors": [ "11491", "11528" ], "programs": [ "arts_8720" ], "categories": [ "arts_1", "arts_69", "arts_21759" ], "tags": [ "arts_10278", "arts_3178", "arts_3217" ], "featImg": "arts_13960790", "label": "arts_8720" }, "arts_13960325": { "type": "posts", "id": "arts_13960325", "meta": { "index": "posts_1716263798", "site": "arts", "id": "13960325", "score": null, "sort": [ 1719482400000 ] }, "guestAuthors": [], "slug": "all-the-nights-we-got-to-dance-is-a-tribute-to-queer-nightlife-in-sf", "title": "‘All The Nights We Got to Dance’ is a Tribute to Queer Nightlife in SF", "publishDate": 1719482400, "format": "audio", "headTitle": "‘All The Nights We Got to Dance’ is a Tribute to Queer Nightlife in SF | KQED", "labelTerm": { "term": 8720, "site": "arts" }, "content": "\u003cp>Human memory can be triggered by certain smells, sounds or even a photo. It’s funny how the mind works; one small symbol can lead to the rehashing of feelings from years ago.\u003c/p>\n\u003cp>The latest work from artist \u003ca href=\"https://www.instagram.com/marcelpardoa/\" target=\"_blank\" rel=\"noopener\">Marcel Pardo Ariza\u003c/a> urges people to take a trip down memory lane by using images of gone-but-not-forgotten bar signs. Pardo Ariza is clear: these bars served more than booze. They were sanctuaries for folks from San Francisco’s queer and trans community, and should be celebrated as such.\u003c/p>\n\u003cfigure id=\"attachment_13960327\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13960327 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Marcel-Pardo-Ariza-by-Pendarvis-Harshaw-2-800x535.jpg\" alt='Marcel Pardo Ariza wears a blue button-up shirt while standing in front of their latest work behind a windowfront, \"All The Nights We Got To Dance.\"' width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Marcel-Pardo-Ariza-by-Pendarvis-Harshaw-2-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Marcel-Pardo-Ariza-by-Pendarvis-Harshaw-2-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Marcel-Pardo-Ariza-by-Pendarvis-Harshaw-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Marcel-Pardo-Ariza-by-Pendarvis-Harshaw-2-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Marcel-Pardo-Ariza-by-Pendarvis-Harshaw-2-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Marcel-Pardo-Ariza-by-Pendarvis-Harshaw-2.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist Marcel Pardo Ariza and their latest installation, ‘All The Nights We Got To Dance.’ \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13960341\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13960341 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/All-The-Nights-copy-800x583.jpg\" alt=\"On a yellow background, are illustrations of historic Queer and Trans bar signs including Gene Compton’s Cafeteria, Esta Noche, Amelia’s, The Pendulum and more. \" width=\"800\" height=\"583\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/All-The-Nights-copy-800x583.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/All-The-Nights-copy-1020x743.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/All-The-Nights-copy-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/All-The-Nights-copy-768x559.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/All-The-Nights-copy-1536x1119.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/All-The-Nights-copy-2048x1491.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/All-The-Nights-copy-1920x1398.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A mockup of the site specific installation ‘All The Nights We Got to Dance.’ \u003ccite>(courtesy of Marcel Pardo Ariza)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>All The Nights We Got To Dance\u003c/em> is a site-specific installation in the ground-floor window of The Line Hotel in San Francisco’s Transgender Cultural District. A sunset orange backdrop is covered in hand-painted wooden replicas of bar signs, such as The Lexington, Esta Noche and \u003ca href=\"https://www.glbthistory.org/primary-source-set-finocchios#:~:text=Finocchio's%20opened%20in%20the%20late,tourists%20and%20the%20queer%20community.\" target=\"_blank\" rel=\"noopener\">Finocchio’s\u003c/a> — a club credited as one of the earliest incubators of drag shows in the U.S.\u003c/p>\n\u003cp>[aside postID='arts_13936474']Born in Colombia and based in Oakland, Pardo Ariza worked closely with \u003ca href=\"https://www.glbthistory.org/\" target=\"_blank\" rel=\"noopener\">San Francisco’s GLBT Historical Society \u003c/a>for their latest project\u003ca href=\"https://www.glbthistory.org/\" target=\"_blank\" rel=\"noopener\">, \u003c/a>leveraging the center’s rich archives to inform their work.\u003c/p>\n\u003cp>This week on Rightnowish, we catch up with Pardo Ariza to take a look at their latest installation before heading over to the GLBT Historical Society’s \u003ca href=\"https://www.glbthistory.org/archives-about-visitor-info\">archives\u003c/a>. There, we meet up with Issac Fellman, the center’s managing reference archivist, who brings us files full of actual handbills, photos, flyers and ephemera from all the nights people danced.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC7628242492\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n", "blocks": [], "excerpt": "Marcel Pardo Ariza's latest art installation celebrates places in queer and trans nightlife.", "status": "publish", "parent": 0, "modified": 1726875360, "stats": { "hasAudio": true, "hasVideo": false, "hasChartOrMap": false, "iframeSrcs": [], "hasGoogleForm": false, "hasGallery": false, "hasHearkenModule": false, "hasPolis": false, "paragraphCount": 10, "wordCount": 349 }, "headData": { "title": "‘All The Nights We Got to Dance’ is a Tribute to Queer Nightlife in SF | KQED", "description": "Marcel Pardo Ariza's latest work urges people to take a trip down memory lane through images of gone but not forgotten bar signs from San Francisco's queer and trans nightlife.", "ogTitle": "", "ogDescription": "", "ogImgId": "", "twTitle": "", "twDescription": "", "twImgId": "", "socialDescription": "Marcel Pardo Ariza's latest work urges people to take a trip down memory lane through images of gone but not forgotten bar signs from San Francisco's queer and trans nightlife.", "schema": { "@context": "http://schema.org", "@type": "Article", "headline": "‘All The Nights We Got to Dance’ is a Tribute to Queer Nightlife in SF", "datePublished": "2024-06-27T03:00:00-07:00", "dateModified": "2024-09-20T16:36:00-07:00", "image": "https://cdn.kqed.org/wp-content/uploads/2020/02/[email protected]" } }, "audioUrl": "https://www.podtrac.com/pts/redirect.mp3/chrt.fm/track/G6C7C3/traffic.megaphone.fm/KQINC7628242492.mp3?updated=1719449369", "sticky": false, "nprStoryId": "kqed-13960325", "templateType": "standard", "featuredImageType": "standard", "excludeFromSiteSearch": "Include", "articleAge": "0", "path": "/arts/13960325/all-the-nights-we-got-to-dance-is-a-tribute-to-queer-nightlife-in-sf", "audioTrackLength": null, "parsedContent": [ { "type": "contentString", "content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Human memory can be triggered by certain smells, sounds or even a photo. It’s funny how the mind works; one small symbol can lead to the rehashing of feelings from years ago.\u003c/p>\n\u003cp>The latest work from artist \u003ca href=\"https://www.instagram.com/marcelpardoa/\" target=\"_blank\" rel=\"noopener\">Marcel Pardo Ariza\u003c/a> urges people to take a trip down memory lane by using images of gone-but-not-forgotten bar signs. Pardo Ariza is clear: these bars served more than booze. They were sanctuaries for folks from San Francisco’s queer and trans community, and should be celebrated as such.\u003c/p>\n\u003cfigure id=\"attachment_13960327\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13960327 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Marcel-Pardo-Ariza-by-Pendarvis-Harshaw-2-800x535.jpg\" alt='Marcel Pardo Ariza wears a blue button-up shirt while standing in front of their latest work behind a windowfront, \"All The Nights We Got To Dance.\"' width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Marcel-Pardo-Ariza-by-Pendarvis-Harshaw-2-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Marcel-Pardo-Ariza-by-Pendarvis-Harshaw-2-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Marcel-Pardo-Ariza-by-Pendarvis-Harshaw-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Marcel-Pardo-Ariza-by-Pendarvis-Harshaw-2-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Marcel-Pardo-Ariza-by-Pendarvis-Harshaw-2-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Marcel-Pardo-Ariza-by-Pendarvis-Harshaw-2.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist Marcel Pardo Ariza and their latest installation, ‘All The Nights We Got To Dance.’ \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13960341\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13960341 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/All-The-Nights-copy-800x583.jpg\" alt=\"On a yellow background, are illustrations of historic Queer and Trans bar signs including Gene Compton’s Cafeteria, Esta Noche, Amelia’s, The Pendulum and more. \" width=\"800\" height=\"583\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/All-The-Nights-copy-800x583.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/All-The-Nights-copy-1020x743.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/All-The-Nights-copy-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/All-The-Nights-copy-768x559.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/All-The-Nights-copy-1536x1119.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/All-The-Nights-copy-2048x1491.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/All-The-Nights-copy-1920x1398.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A mockup of the site specific installation ‘All The Nights We Got to Dance.’ \u003ccite>(courtesy of Marcel Pardo Ariza)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>All The Nights We Got To Dance\u003c/em> is a site-specific installation in the ground-floor window of The Line Hotel in San Francisco’s Transgender Cultural District. A sunset orange backdrop is covered in hand-painted wooden replicas of bar signs, such as The Lexington, Esta Noche and \u003ca href=\"https://www.glbthistory.org/primary-source-set-finocchios#:~:text=Finocchio's%20opened%20in%20the%20late,tourists%20and%20the%20queer%20community.\" target=\"_blank\" rel=\"noopener\">Finocchio’s\u003c/a> — a club credited as one of the earliest incubators of drag shows in the U.S.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>", "attributes": { "named": {}, "numeric": [] } }, { "type": "component", "content": "", "name": "aside", "attributes": { "named": { "postid": "arts_13936474", "label": "" }, "numeric": [] } }, { "type": "contentString", "content": "\u003cdiv class=\"post-body\">\u003cp>Born in Colombia and based in Oakland, Pardo Ariza worked closely with \u003ca href=\"https://www.glbthistory.org/\" target=\"_blank\" rel=\"noopener\">San Francisco’s GLBT Historical Society \u003c/a>for their latest project\u003ca href=\"https://www.glbthistory.org/\" target=\"_blank\" rel=\"noopener\">, \u003c/a>leveraging the center’s rich archives to inform their work.\u003c/p>\n\u003cp>This week on Rightnowish, we catch up with Pardo Ariza to take a look at their latest installation before heading over to the GLBT Historical Society’s \u003ca href=\"https://www.glbthistory.org/archives-about-visitor-info\">archives\u003c/a>. There, we meet up with Issac Fellman, the center’s managing reference archivist, who brings us files full of actual handbills, photos, flyers and ephemera from all the nights people danced.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC7628242492\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>", "attributes": { "named": {}, "numeric": [] } }, { "type": "component", "content": "", "name": "ad", "attributes": { "named": { "label": "fullwidth" }, "numeric": [ "fullwidth" ] } }, { "type": "contentString", "content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>", "attributes": { "named": {}, "numeric": [] } } ], "link": "/arts/13960325/all-the-nights-we-got-to-dance-is-a-tribute-to-queer-nightlife-in-sf", "authors": [ "11491", "11528" ], "programs": [ "arts_8720" ], "categories": [ "arts_1", "arts_21759" ], "tags": [ "arts_7705", "arts_5142", "arts_22194", "arts_7128", "arts_11333", "arts_18754", "arts_4640", "arts_22195" ], "featImg": "arts_13960326", "label": "arts_8720" }, "arts_13971920": { "type": "posts", "id": "arts_13971920", "meta": { "index": "posts_1716263798", "site": "arts", "id": "13971920", "score": null, "sort": [ 1739567934000 ] }, "guestAuthors": [], "slug": "santa-rosa-artquest-censorship-lenaea-festival", "title": "After Censorship, Santa Rosa Students Write Their Own Play — and Take the Gold", "publishDate": 1739567934, "format": "standard", "headTitle": "After Censorship, Santa Rosa Students Write Their Own Play — and Take the Gold | KQED", "labelTerm": { "site": "arts" }, "content": "\u003cp>You can’t keep good kids down.\u003c/p>\n\u003cp>After having their fall play suddenly canceled due to subject matter, and faced with continued monitoring by the administration, the students in Santa Rosa High School’s ArtQuest theater program refused to back away.\u003c/p>\n\u003cp>Instead, they fought back the best way they know how: by co-writing a pointed, smart and hilarious one-act musical called \u003cem>[REDACTED]\u003c/em>, which satirized the school district and the impulse to censor content deemed “unsuitable.”\u003c/p>\n\u003cp>And you know what? Over the weekend, \u003cem>[REDACTED]\u003c/em> won the gold medal at the \u003ca href=\"https://www.lenaea.org/\">Lenaea Festival\u003c/a>, a statewide theater competition of over 70 high schools. Santa Rosa also \u003ca href=\"https://www.instagram.com/p/DF5wn4-ypqb/\">won 12 other awards\u003c/a> at the festival, including the Spirit of Lenaea award, one of the festival’s very top honors.\u003c/p>\n\u003cfigure id=\"attachment_13971926\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13971926\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Redacted.Lenaea.Stage_.jpg\" alt=\"\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Redacted.Lenaea.Stage_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Redacted.Lenaea.Stage_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Redacted.Lenaea.Stage_-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Redacted.Lenaea.Stage_-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Redacted.Lenaea.Stage_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Redacted.Lenaea.Stage_-1536x864.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Santa Rosa High School ArtQuest theater students performing ‘[REDACTED]’ at the Lenaea Festival in Folsom. \u003ccite>(Brent Lindsay)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I’ve had a front-row seat to this entire episode, since my daughter is friends with some of the young actors in the theater program. And I’ve watched as they’ve fought against censorship and clawed back their agency, again and again.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Jereme Anglin, who teaches theater at Santa Rosa, said the awards ceremony “pretty much brought everyone to tears.”\u003c/p>\n\u003cp>“We all got pretty emotional with it,” Anglin said. To win so many awards, up against so many other high schools, “it just felt like our struggle had been recognized.”\u003c/p>\n\u003cp>It’s quite a curtain call for a long, painful episode.\u003c/p>\n\u003cfigure id=\"attachment_13971924\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13971924\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Redacted.DeanJahnsen.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Redacted.DeanJahnsen.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Redacted.DeanJahnsen-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Redacted.DeanJahnsen-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Redacted.DeanJahnsen-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Redacted.DeanJahnsen-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Redacted.DeanJahnsen-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Redacted.DeanJahnsen-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Santa Rosa High School ArtQuest theater student Dean Jahnsen performs as ‘Mr. Thumb’ in a one-act musical cowritten by students called ‘[REDACTED].’ \u003ccite>(Laurel Merrick)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Last November, after rehearsing for four months, the Santa Rosa students opened their fall play, \u003cem>Dog Sees God: Confessions of a Teenage Blockhead\u003c/em> by Bert V. Royal. In its imagining of the characters from \u003cem>Peanuts\u003c/em> grown up and in high school, Linus is a stoner. Lucy is in a juvenile institution. Pigpen is homophobic, which is a problem, because Charlie Brown is experimenting with his sexuality.\u003c/p>\n\u003cp>Your usual high-school stuff, in other words.\u003c/p>\n\u003cp>After opening night, citing “complaints” — without elaborating — the school district suddenly canceled the play’s remaining performances. Undeterred, students Dean Jahnsen and Leila Paine mobilized schoolmates to get on the phone to the local paper, \u003cem>The Press Democrat\u003c/em>. They also contacted the Mercury Theatre in nearby Petaluma to check about availability.\u003c/p>\n\u003cp>The result? \u003ca href=\"https://www.pressdemocrat.com/article/news/school-play-canceled-obscenity-complaints-censorship-santa-rosa/\">Days\u003c/a> \u003ca href=\"https://www.pressdemocrat.com/article/news/canceled-santa-rosa-high-school-play/\">of\u003c/a> \u003ca href=\"https://www.sfchronicle.com/entertainment/article/santa-rosa-school-play-19933155.php\">media coverage\u003c/a>, hundreds of social media comments lambasting school officials’ priorities and two sold-out performances of \u003cem>Dog Sees God\u003c/em> at the Mercury Theatre that raised over $3,500 for their theater program.\u003c/p>\n\u003cfigure id=\"attachment_13971930\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13971930\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/ARtQuest.DogSeesGod.jpg\" alt=\"\" width=\"2000\" height=\"1125\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/ARtQuest.DogSeesGod.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/ARtQuest.DogSeesGod-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/ARtQuest.DogSeesGod-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/ARtQuest.DogSeesGod-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/ARtQuest.DogSeesGod-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/ARtQuest.DogSeesGod-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/ARtQuest.DogSeesGod-1920x1080.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A curtain call by Santa Rosa High School ArtsQuest theater students for ‘Dog Sees God: Confessions of a Teenage Blockhead’ at the Mercury Theatre in Petaluma, Nov. 16, 2024. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The district \u003ca href=\"https://www.pressdemocrat.com/article/news/school-play-canceled-obscenity-complaints-censorship-santa-rosa/\">reversed course\u003c/a>, formally apologized, and said the play could be produced on campus. But it also asked to proofread scripts of future productions, and instituted an age restriction for certain shows with “adult themes.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13970807/sara-bareilles-awards-national-high-school-musical-theatre-eureka\">Speaking with KQED\u003c/a>, the singer and Broadway composer Sara Bareilles (\u003cem>Waitress, The Interestings\u003c/em>) said the censorship at Santa Rosa High School “makes me so angry,” calling it a misuse of the district’s energy.\u003c/p>\n\u003cp>[aside postID='arts_13971959']“We think that by removing stories about ‘problematic’ subject matter, it removes those experiences from the world. The world is not getting less complicated because we talk about these subjects less; people are given less tools with which to cope with those subjects. And that is what makes me so sad, that these kids have put in all of this effort,” Bareilles said. \u003c/p>\n\u003cp>The district also installed a new principal at the high school, who last month \u003ca href=\"https://www.pressdemocrat.com/article/news/santa-rosa-high-theater-censorship/\">raised concern over the content\u003c/a> of three student monologues that were to be performed at the Lenaea Festival, and asked that the monologues be approved by the students’ parents.\u003c/p>\n\u003cp>If that sounds a little bit like “Mommies Against the Arts,” well, that’s what the students thought, too.\u003c/p>\n\u003cfigure id=\"attachment_13971927\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13971927\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Redacted.MJ_.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Redacted.MJ_.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Redacted.MJ_-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Redacted.MJ_-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Redacted.MJ_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Redacted.MJ_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Redacted.MJ_-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Redacted.MJ_-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Milo Ward performs as ‘Killian Keller’ in a one-act musical cowritten by students called ‘[REDACTED].’ \u003ccite>(Laurel Merrick)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In \u003cem>[REDACTED]\u003c/em>, a collaboration between the students and Brent Lindsay of the local theater company \u003ca href=\"https://theimaginists.org/\">the Imaginists\u003c/a>, a group called Mommies Against the Arts intervenes at a local school. They deride the librarian as “too woke,” celebrate that “indecent art is dying fast” after reprimanding “Mr. A,” and chant “Protecting kiddies is our duty! / We cancel anything that smells a little fruity!”\u003c/p>\n\u003cp>There are references to canceling plays, burning books and the school board having nothing better to do. The Mommies parade about, defending district employees, “particularly those who make over $200,000 a year.” One discovers a student script and screams, “You’ve been writing this? Without my approval?! \u003cem>Burn these words\u003c/em>!!!”\u003c/p>\n\u003cp>Anglin invited the school board, district officials and the administration to see \u003cem>[REDACTED]\u003c/em>. Not many came, he said. One woman from the district left partway through. The principal “didn’t really have much of a response to it.”\u003c/p>\n\u003cfigure id=\"attachment_13971925\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13971925\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Redacted.Lenaea.jpg\" alt=\"\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Redacted.Lenaea.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Redacted.Lenaea-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Redacted.Lenaea-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Redacted.Lenaea-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Redacted.Lenaea-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Redacted.Lenaea-1536x864.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Santa Rosa High School ArtQuest theater students celebrate their win at the Lenaea Festival in Folsom. \u003ccite>(Brent Lindsay)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The judges at Lenaea, however, certainly did. In \u003ca href=\"https://www.youtube.com/live/RRu699S92lk?feature=shared&t=6485\">awarding the students the Spirit of Lenaea Award\u003c/a>, Board director Cheena Moslen was emphatic.\u003c/p>\n\u003cp>“This group refused to be silenced. They mobilized their community, pushed back against censorship driven by fear, and ultimately staged their production, selling out performances. But that hurdle seems to be the beginning of a larger issue of silencing and oppression,” Moslen said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“My experience with this school reminded me that we are not just performers — we are powerful, and our voices matter.”\u003c/p>\n\n", "blocks": [], "excerpt": "A state festival awarded top honors to ‘REDACTED,’ which ruthlessly lampooned district officials.", "status": "publish", "parent": 0, "modified": 1739905595, "stats": { "hasAudio": false, "hasVideo": false, "hasChartOrMap": false, "iframeSrcs": [], "hasGoogleForm": false, "hasGallery": false, "hasHearkenModule": false, "hasPolis": false, "paragraphCount": 25, "wordCount": 1004 }, "headData": { "title": "After Censorship, Santa Rosa Students Write Their Own Play — and Take the Gold | KQED", "description": "A state festival awarded top honors to ‘REDACTED,’ which ruthlessly lampooned district officials.", "ogTitle": "", "ogDescription": "", "ogImgId": "", "twTitle": "", "twDescription": "", "twImgId": "", "schema": { "@context": "http://schema.org", "@type": "Article", "headline": "After Censorship, Santa Rosa Students Write Their Own Play — and Take the Gold", "datePublished": "2025-02-14T13:18:54-08:00", "dateModified": "2025-02-18T11:06:35-08:00", "image": "https://cdn.kqed.org/wp-content/uploads/2020/02/[email protected]" } }, "sticky": false, "nprStoryId": "kqed-13971920", "templateType": "standard", "featuredImageType": "standard", "excludeFromSiteSearch": "Include", "articleAge": "0", "path": "/arts/13971920/santa-rosa-artquest-censorship-lenaea-festival", "audioTrackLength": null, "parsedContent": [ { "type": "contentString", "content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>You can’t keep good kids down.\u003c/p>\n\u003cp>After having their fall play suddenly canceled due to subject matter, and faced with continued monitoring by the administration, the students in Santa Rosa High School’s ArtQuest theater program refused to back away.\u003c/p>\n\u003cp>Instead, they fought back the best way they know how: by co-writing a pointed, smart and hilarious one-act musical called \u003cem>[REDACTED]\u003c/em>, which satirized the school district and the impulse to censor content deemed “unsuitable.”\u003c/p>\n\u003cp>And you know what? Over the weekend, \u003cem>[REDACTED]\u003c/em> won the gold medal at the \u003ca href=\"https://www.lenaea.org/\">Lenaea Festival\u003c/a>, a statewide theater competition of over 70 high schools. Santa Rosa also \u003ca href=\"https://www.instagram.com/p/DF5wn4-ypqb/\">won 12 other awards\u003c/a> at the festival, including the Spirit of Lenaea award, one of the festival’s very top honors.\u003c/p>\n\u003cfigure id=\"attachment_13971926\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13971926\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Redacted.Lenaea.Stage_.jpg\" alt=\"\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Redacted.Lenaea.Stage_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Redacted.Lenaea.Stage_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Redacted.Lenaea.Stage_-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Redacted.Lenaea.Stage_-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Redacted.Lenaea.Stage_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Redacted.Lenaea.Stage_-1536x864.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Santa Rosa High School ArtQuest theater students performing ‘[REDACTED]’ at the Lenaea Festival in Folsom. \u003ccite>(Brent Lindsay)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I’ve had a front-row seat to this entire episode, since my daughter is friends with some of the young actors in the theater program. And I’ve watched as they’ve fought against censorship and clawed back their agency, again and again.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>", "attributes": { "named": {}, "numeric": [] } }, { "type": "component", "content": "", "name": "ad", "attributes": { "named": { "label": "fullwidth" }, "numeric": [ "fullwidth" ] } }, { "type": "contentString", "content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Jereme Anglin, who teaches theater at Santa Rosa, said the awards ceremony “pretty much brought everyone to tears.”\u003c/p>\n\u003cp>“We all got pretty emotional with it,” Anglin said. To win so many awards, up against so many other high schools, “it just felt like our struggle had been recognized.”\u003c/p>\n\u003cp>It’s quite a curtain call for a long, painful episode.\u003c/p>\n\u003cfigure id=\"attachment_13971924\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13971924\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Redacted.DeanJahnsen.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Redacted.DeanJahnsen.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Redacted.DeanJahnsen-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Redacted.DeanJahnsen-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Redacted.DeanJahnsen-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Redacted.DeanJahnsen-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Redacted.DeanJahnsen-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Redacted.DeanJahnsen-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Santa Rosa High School ArtQuest theater student Dean Jahnsen performs as ‘Mr. Thumb’ in a one-act musical cowritten by students called ‘[REDACTED].’ \u003ccite>(Laurel Merrick)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Last November, after rehearsing for four months, the Santa Rosa students opened their fall play, \u003cem>Dog Sees God: Confessions of a Teenage Blockhead\u003c/em> by Bert V. Royal. In its imagining of the characters from \u003cem>Peanuts\u003c/em> grown up and in high school, Linus is a stoner. Lucy is in a juvenile institution. Pigpen is homophobic, which is a problem, because Charlie Brown is experimenting with his sexuality.\u003c/p>\n\u003cp>Your usual high-school stuff, in other words.\u003c/p>\n\u003cp>After opening night, citing “complaints” — without elaborating — the school district suddenly canceled the play’s remaining performances. Undeterred, students Dean Jahnsen and Leila Paine mobilized schoolmates to get on the phone to the local paper, \u003cem>The Press Democrat\u003c/em>. They also contacted the Mercury Theatre in nearby Petaluma to check about availability.\u003c/p>\n\u003cp>The result? \u003ca href=\"https://www.pressdemocrat.com/article/news/school-play-canceled-obscenity-complaints-censorship-santa-rosa/\">Days\u003c/a> \u003ca href=\"https://www.pressdemocrat.com/article/news/canceled-santa-rosa-high-school-play/\">of\u003c/a> \u003ca href=\"https://www.sfchronicle.com/entertainment/article/santa-rosa-school-play-19933155.php\">media coverage\u003c/a>, hundreds of social media comments lambasting school officials’ priorities and two sold-out performances of \u003cem>Dog Sees God\u003c/em> at the Mercury Theatre that raised over $3,500 for their theater program.\u003c/p>\n\u003cfigure id=\"attachment_13971930\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13971930\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/ARtQuest.DogSeesGod.jpg\" alt=\"\" width=\"2000\" height=\"1125\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/ARtQuest.DogSeesGod.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/ARtQuest.DogSeesGod-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/ARtQuest.DogSeesGod-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/ARtQuest.DogSeesGod-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/ARtQuest.DogSeesGod-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/ARtQuest.DogSeesGod-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/ARtQuest.DogSeesGod-1920x1080.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A curtain call by Santa Rosa High School ArtsQuest theater students for ‘Dog Sees God: Confessions of a Teenage Blockhead’ at the Mercury Theatre in Petaluma, Nov. 16, 2024. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The district \u003ca href=\"https://www.pressdemocrat.com/article/news/school-play-canceled-obscenity-complaints-censorship-santa-rosa/\">reversed course\u003c/a>, formally apologized, and said the play could be produced on campus. But it also asked to proofread scripts of future productions, and instituted an age restriction for certain shows with “adult themes.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13970807/sara-bareilles-awards-national-high-school-musical-theatre-eureka\">Speaking with KQED\u003c/a>, the singer and Broadway composer Sara Bareilles (\u003cem>Waitress, The Interestings\u003c/em>) said the censorship at Santa Rosa High School “makes me so angry,” calling it a misuse of the district’s energy.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>", "attributes": { "named": {}, "numeric": [] } }, { "type": "component", "content": "", "name": "aside", "attributes": { "named": { "postid": "arts_13971959", "label": "" }, "numeric": [] } }, { "type": "contentString", "content": "\u003cdiv class=\"post-body\">\u003cp>“We think that by removing stories about ‘problematic’ subject matter, it removes those experiences from the world. The world is not getting less complicated because we talk about these subjects less; people are given less tools with which to cope with those subjects. And that is what makes me so sad, that these kids have put in all of this effort,” Bareilles said. \u003c/p>\n\u003cp>The district also installed a new principal at the high school, who last month \u003ca href=\"https://www.pressdemocrat.com/article/news/santa-rosa-high-theater-censorship/\">raised concern over the content\u003c/a> of three student monologues that were to be performed at the Lenaea Festival, and asked that the monologues be approved by the students’ parents.\u003c/p>\n\u003cp>If that sounds a little bit like “Mommies Against the Arts,” well, that’s what the students thought, too.\u003c/p>\n\u003cfigure id=\"attachment_13971927\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13971927\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Redacted.MJ_.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Redacted.MJ_.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Redacted.MJ_-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Redacted.MJ_-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Redacted.MJ_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Redacted.MJ_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Redacted.MJ_-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Redacted.MJ_-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Milo Ward performs as ‘Killian Keller’ in a one-act musical cowritten by students called ‘[REDACTED].’ \u003ccite>(Laurel Merrick)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In \u003cem>[REDACTED]\u003c/em>, a collaboration between the students and Brent Lindsay of the local theater company \u003ca href=\"https://theimaginists.org/\">the Imaginists\u003c/a>, a group called Mommies Against the Arts intervenes at a local school. They deride the librarian as “too woke,” celebrate that “indecent art is dying fast” after reprimanding “Mr. A,” and chant “Protecting kiddies is our duty! / We cancel anything that smells a little fruity!”\u003c/p>\n\u003cp>There are references to canceling plays, burning books and the school board having nothing better to do. The Mommies parade about, defending district employees, “particularly those who make over $200,000 a year.” One discovers a student script and screams, “You’ve been writing this? Without my approval?! \u003cem>Burn these words\u003c/em>!!!”\u003c/p>\n\u003cp>Anglin invited the school board, district officials and the administration to see \u003cem>[REDACTED]\u003c/em>. Not many came, he said. One woman from the district left partway through. The principal “didn’t really have much of a response to it.”\u003c/p>\n\u003cfigure id=\"attachment_13971925\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13971925\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Redacted.Lenaea.jpg\" alt=\"\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Redacted.Lenaea.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Redacted.Lenaea-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Redacted.Lenaea-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Redacted.Lenaea-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Redacted.Lenaea-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Redacted.Lenaea-1536x864.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Santa Rosa High School ArtQuest theater students celebrate their win at the Lenaea Festival in Folsom. \u003ccite>(Brent Lindsay)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The judges at Lenaea, however, certainly did. In \u003ca href=\"https://www.youtube.com/live/RRu699S92lk?feature=shared&t=6485\">awarding the students the Spirit of Lenaea Award\u003c/a>, Board director Cheena Moslen was emphatic.\u003c/p>\n\u003cp>“This group refused to be silenced. They mobilized their community, pushed back against censorship driven by fear, and ultimately staged their production, selling out performances. But that hurdle seems to be the beginning of a larger issue of silencing and oppression,” Moslen said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“My experience with this school reminded me that we are not just performers — we are powerful, and our voices matter.”\u003c/p>\n\n\u003c/div>\u003c/p>", "attributes": { "named": {}, "numeric": [] } } ], "link": "/arts/13971920/santa-rosa-artquest-censorship-lenaea-festival", "authors": [ "185" ], "categories": [ "arts_1", "arts_967" ], "tags": [ "arts_7573", "arts_10342", "arts_10278", "arts_13825", "arts_2721", "arts_9159" ], "featImg": "arts_13971923", "label": "arts" }, "arts_13971701": { "type": "posts", "id": "arts_13971701", "meta": { "index": "posts_1716263798", "site": "arts", "id": "13971701", "score": null, "sort": [ 1739477226000 ] }, "guestAuthors": [], "slug": "quentin-thomas-oakland-basketball", "title": "Coach Quentin Thomas Embodies the Spirit of Oakland Basketball", "publishDate": 1739477226, "format": "standard", "headTitle": "Coach Quentin Thomas Embodies the Spirit of Oakland Basketball | KQED", "labelTerm": { "site": "arts" }, "content": "\u003cp>What a lot of people coming to the Bay Area for the NBA All-Star game don’t understand is how, out here, basketball runs so much deeper than one celebratory weekend.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-13833985\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg\" alt=\"\" width=\"180\" height=\"207\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w\" sizes=\"auto, (max-width: 180px) 100vw, 180px\">Here, the sport is more than a game. Basketball is the foundation of a community, a society onto itself. There’s a popular saying: “Ball is life.” But to many players here, basketball ascends into the spiritual realm. Hoops are holy.\u003c/p>\n\u003cp>One of those players is Quentin Thomas, who played on the 2005 NCAA Men’s National Championship winning team at the University of North Carolina.\u003c/p>\n\u003cp>I recently caught up with Thomas at the College of Alameda, where he’s now an assistant coach, about being one of the winningest players in UNC history, the ups-and-downs of his rap career and how he’s dealt with a life-altering condition.\u003c/p>\n\u003cfigure id=\"attachment_13971880\" class=\"wp-caption aligncenter\" style=\"max-width: 1590px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13971880\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/quentin.jalen_.jpg\" alt=\"\" width=\"1590\" height=\"1045\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/quentin.jalen_.jpg 1590w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/quentin.jalen_-800x526.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/quentin.jalen_-1020x670.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/quentin.jalen_-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/quentin.jalen_-768x505.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/quentin.jalen_-1536x1010.jpg 1536w\" sizes=\"auto, (max-width: 1590px) 100vw, 1590px\">\u003cfigcaption class=\"wp-caption-text\">Jalen Scott, left, shoots hoops with coach Quentin Thomas at College of Alameda. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘We Learned the Game By Ourselves’\u003c/h2>\n\u003cp>When I pause outside the gym at College of Alameda during hoop practice, I hear a booming voice coming from inside the building — clearly, the voice of the team’s head coach, basketball hall of famer Gary Payton.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Soon, the doors open, the team scatters, and there’s Thomas, at the far end of the gym, rebounding as a player named Jalen Scott gets in a few jump shots.\u003c/p>\n\u003cp>As he settles into a folding chair on the sideline, Thomas recalls his earliest memory of playing basketball: with his father at the YMCA in downtown Oakland.\u003c/p>\n\u003cp>[aside postID='arts_13969956']From there, life has been a blur of hoop games and tournaments.\u003c/p>\n\u003cp>As a kid he played at recreation centers, most of them in East Oakland: Brookfield, Rainbow, the East Oakland Youth Development Center. He balled in Oakland’s Police Athletic League, played in the Oakland Neighborhood Basketball League, and even got busy on courts across town at North Oakland’s Bushrod Park.\u003c/p>\n\u003cp>“I learned so much just being around the rec centers,” Thomas tells me. The games at those centers, he says, were baptisms by fire.\u003c/p>\n\u003cp>“We didn’t have trainers,” he says. “We learned the game by ourselves.”\u003c/p>\n\u003cfigure id=\"attachment_13971872\" class=\"wp-caption aligncenter\" style=\"max-width: 1389px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13971872\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/QuentinThomas.OaklandTech.jpg\" alt=\"\" width=\"1389\" height=\"1833\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/QuentinThomas.OaklandTech.jpg 1389w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/QuentinThomas.OaklandTech-800x1056.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/QuentinThomas.OaklandTech-1020x1346.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/QuentinThomas.OaklandTech-160x211.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/QuentinThomas.OaklandTech-768x1013.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/QuentinThomas.OaklandTech-1164x1536.jpg 1164w\" sizes=\"auto, (max-width: 1389px) 100vw, 1389px\">\u003cfigcaption class=\"wp-caption-text\">Playing for Oakland Tech, Quentin Thomas positions for a rebound against Fremont High during a semifinal on March 2, 2004 in Oakland. \u003ccite>(Michael Macor/The San Francisco Chronicle via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As a teen, Thomas would go to rec centers for hours at a time, meet someone new, take notes on how they played — and eventually adopt some of their moves. He adds that the \u003ca href=\"https://www.youtube.com/watch?v=ybU9Q_SkeVI\" target=\"_blank\" rel=\"noopener\">\u003cem>And1 Mixtapes\u003c/em>\u003c/a> DVD series also dropped when he was in middle school. “That was heaven,” Thomas says with a laugh.\u003c/p>\n\u003cp>A traditional “pass-first” point guard, Thomas didn’t choose the position so much as his personality dictated it. “I love to see people score, I love to see people win,” he says. “It never really was about me.”\u003c/p>\n\u003cp>While coming up, he took notes from star guards known for getting their own shot, as well as dishing the rock. He studied guards like Oakland’s Gary Payton and Jason Kidd, and footage that his dad showed him of Isiah Thomas and Magic Johnson.\u003c/p>\n\u003cp>“Now with these kids,” says the 38-year-old Thomas, “it’s Steph, it’s Trae, it’s Dame; it’s the three-ball.”\u003c/p>\n\u003ch2>Leaving the Town for North Carolina\u003c/h2>\n\u003cp>When Thomas walked on campus at Oakland Tech as a freshman in 2000, he was surrounded by big names on and off the hoop court. Former NFL star Marshawn Lynch was Thomas’ high school classmate. On the court, starting all four years, he overlapped with future NCAA standout Armondo “Mondo” Surratt.\u003c/p>\n\u003cp>But the center of attention was future NBA champion Leon Powe.\u003c/p>\n\u003cp>“When I was a freshman, we’d have six or seven scouts at our practice,” says Thomas, crediting Powe’s success with opening the door for others at Oakland Tech.\u003c/p>\n\u003cfigure id=\"attachment_13971867\" class=\"wp-caption aligncenter\" style=\"max-width: 576px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13971867\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/OaklandTechBulldogs.jpg\" alt=\"\" width=\"576\" height=\"671\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/OaklandTechBulldogs.jpg 576w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/OaklandTechBulldogs-160x186.jpg 160w\" sizes=\"auto, (max-width: 576px) 100vw, 576px\">\u003cfigcaption class=\"wp-caption-text\">The Oakland Tech men’s basketball team at the Henry J. Kaiser Auditorium in Oakland, after beating McClymonds High School. Quentin Thomas, in his senior year, sits front row, second from right. \u003ccite>(Courtesy Quentin Thomas)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Roy Williams, then head coach of the men’s basketball team at the University of Kansas, began to take note of the wiry guard from East Oakland. By Thomas’ senior year, coach Williams had left Kansas to return to the legendary basketball program at the University of North Carolina. “And then he called me,” says Thomas, surprised that the coach was still interested in him.\u003c/p>\n\u003cp>“I didn’t go out there because of Roy,” Thomas admits. “Carolina wasn’t even on my list.”\u003c/p>\n\u003cp>[aside postID='arts_13971779']Thomas wasn’t even thinking about pursuing a career in the NBA. His future priorities broadly involved supporting his family, seeing the world and putting “smiles on people’s faces.” But he wasn’t going to turn down a chance to play at one of the most storied basketball programs in the world.\u003c/p>\n\u003cp>“And during that time,” Thomas says, reflecting on the state of the Town in the early 2000s, “we had like 100 homicides this year, 105 the next year.” He recalls how his games would be packed, but they had to be held at 3:45 p.m. instead of at night for safety reasons.\u003c/p>\n\u003cp>Thomas, who at one point during high school changed his jersey number to honor a friend who’d been shot, says, “I just wanted to get as far away as possible.”\u003c/p>\n\u003cfigure id=\"attachment_13971873\" class=\"wp-caption aligncenter\" style=\"max-width: 1415px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13971873\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Quentin.NC_.jpg\" alt=\"\" width=\"1415\" height=\"2026\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Quentin.NC_.jpg 1415w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Quentin.NC_-800x1145.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Quentin.NC_-1020x1460.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Quentin.NC_-160x229.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Quentin.NC_-768x1100.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Quentin.NC_-1073x1536.jpg 1073w\" sizes=\"auto, (max-width: 1415px) 100vw, 1415px\">\u003cfigcaption class=\"wp-caption-text\">Quentin Thomas shoots during a North Carolina Tarheels 83-66 victory over the University of California Santa Barbara in the Dean Smith Center in Chapel Hill, NC. \u003ccite>(Peyton Williams/Icon Sport Media via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Off the Court and On the Mic\u003c/h2>\n\u003cp>During Thomas’ first year at UNC he played on a team with future NBA players Sean May, Raymond Felton, Marvin Williams and Rashad McCants. That spring, in 2005, the team won a national championship.\u003c/p>\n\u003cp>Ahead of the title game, having grown up watching rap videos on The Box, Thomas freestyled for the entire bus ride from the airport to the hotel. Think the classic \u003ca href=\"https://www.youtube.com/watch?v=c3qMXrEjwe4\" target=\"_blank\" rel=\"noopener\">2006 Malcolm Kelly post-game locker room freestyle\u003c/a>, but unfortunately without anyone filming.\u003c/p>\n\u003cp>Still, he fully credits his teammates at UNC for pushing him to pursue a rap career.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=eHwYhnMrDGQ\u003c/p>\n\u003cp>“The year I graduated I met \u003ca href=\"https://www.instagram.com/9thwonder/?hl=en\" target=\"_blank\" rel=\"noopener\">9th Wonder\u003c/a>,” says Thomas. He’d spend roughly a decade on the super producer’s independent label, \u003ca href=\"https://www.jamlarecords.com/\" target=\"_blank\" rel=\"noopener\">Jamla Records\u003c/a>.\u003c/p>\n\u003cp>The experience led to Thomas, who raps under the name GQ, releasing a number of projects, including the 2019 mixtape \u003cem>E 14th: The Town Mix\u003c/em>. He worked with labelmates Rapsody and Reuben Vincent, and appeared alongside David Banner on the soundtrack of \u003ca href=\"https://www.youtube.com/watch?v=hnJLTt1uZtk\" target=\"_blank\" rel=\"noopener\">\u003cem>NBA Live 2010\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>As his music was blossoming, though, hoops continued to call him. Even if he didn’t want to answer, the message was coming from a source too close to deny.\u003c/p>\n\u003cp>Thomas’ then-roommate and former teammate, Michael Copeland, invited him to work with some local hoopers of all ages. “I’m like ‘fuck no, bro, I’m cool,’” Thomas replied.\u003c/p>\n\u003cp>His reluctant façade quickly fell, though. And after a week at the gym, “I’m like bruh, I love this shit.” Thomas says. “That was probably God too, using [Copeland]. Because if it was coming from somebody else, I probably would have been like, nah. But this is my teammate, my brother, someone I trust.”\u003c/p>\n\u003cfigure id=\"attachment_13971874\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13971874\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Quentin.overhead.jpg\" alt=\"\" width=\"2000\" height=\"1377\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Quentin.overhead.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Quentin.overhead-800x551.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Quentin.overhead-1020x702.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Quentin.overhead-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Quentin.overhead-768x529.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Quentin.overhead-1536x1058.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Quentin.overhead-1920x1322.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Quentin Thomas puts a shot up against the North Carolina State Wolfpack on February 20, 2008 in Raleigh, North Carolina. \u003ccite>(Kevin C. Cox/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A Life-Changing Diagnosis\u003c/h2>\n\u003cp>Around the same time, Thomas’ world flipped. Stomach pains, deep cramps and bowel issues began plaguing him in 2009.\u003c/p>\n\u003cp>By 2012, he was diagnosed with ulcerative colitis, a painful condition with no cure.\u003c/p>\n\u003cp>After his diagnosis, Thomas lived between Oakland and North Carolina, even spending a stint in Las Vegas on the coaching staff for state champ runner-ups Silverado High School.\u003c/p>\n\u003cp>But while there, his condition took a turn. In 2023, he lost a drastic amount of weight. He made the hard choice to move back to Oakland permanently.\u003c/p>\n\u003cp>[aside postID='arts_13971354']“I always felt like a failure coming back home,” says Thomas, rueing the impression of moving backwards in life. “I told myself, ‘When I leave here, I won’t come back here ’till I’m right, whether it’s financially or I got my family, I got my career, everything.’”\u003c/p>\n\u003cp>But the move back proved fruitful. He began infusions to manage his colitis. During his trips to the hospital, he’d see people battling ailments and conditions of all kinds, many worse than his. “It just made me appreciate simple stuff,” Thomas tells me.\u003c/p>\n\u003cp>With a newfound gratitude, “I started getting better,” says Thomas. “I started getting stronger, and started becoming Quentin again.”\u003c/p>\n\u003cfigure id=\"attachment_13971875\" class=\"wp-caption aligncenter\" style=\"max-width: 482px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13971875\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Quentin.alameda.team_.jpg\" alt=\"\" width=\"482\" height=\"641\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Quentin.alameda.team_.jpg 482w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Quentin.alameda.team_-160x213.jpg 160w\" sizes=\"auto, (max-width: 482px) 100vw, 482px\">\u003cfigcaption class=\"wp-caption-text\">Quentin Thomas and the team in the gym at College of Alameda. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘He Prays for Us’\u003c/h2>\n\u003cp>Not long after, he got a call from College of Alameda assistant coach Sam Moses, who put him in contact with head coach Gary Payton. Thomas and Payton had been around each other before, not because of hoops, but church.\u003c/p>\n\u003cp>“My mom is from West Oakland, she grew up at Saint John Church,” says Thomas, noting how small the Town is. “That’s where most of the Payton family grew up, too.”\u003c/p>\n\u003cp>The first thing coach Payton told Thomas when he joined the team was “just be you.”\u003c/p>\n\u003cp>[aside postID='arts_13956839']Thomas, the youngest on the staff, a man with a naturally mild-mannered demeanor, has a style that’s the complete opposite of coach Payton’s.\u003c/p>\n\u003cp>“GP is gonna yell at you,” says Thomas of the head coach. “He gon’ cuss you out, because that’s what made him great. That’s how he was taught, that’s how he was raised, that’s what brought the best out of him.” Conversely, Thomas says, “For me, I’ve never been that way. Even when I played, I wasn’t the rah-rah type.”\u003c/p>\n\u003cp>As such, he often serves as a bridge between coach Payton and the student-athletes.\u003c/p>\n\u003cp>“It’s tough on them,” Thomas says, referring to the players’ ability to deal with harsh criticism. “It’s tough on GP too,” he adds. “Because he’s not used to having to cater to feelings.”\u003c/p>\n\u003caside class=\"pullquote alignright\">“He looks at all dimensions of brotherhood … he realigns players with their purpose when they’re derailed by tones, emotions and feelings.” \u003ccite>Isaiah Hill on Quentin Thomas\u003c/cite>\u003c/aside>\n\u003cp>Thomas’ role for the team is illustrated by player \u003ca href=\"https://www.instagram.com/7aycash/?hl=en\" target=\"_blank\" rel=\"noopener\">Isaiah Hill\u003c/a>, who I also talk with during my visit to Alameda.\u003c/p>\n\u003cp>A 6’2” guard from New Jersey and the nephew of R&B singer Lauryn Hill, Isaiah Hill is a star on and off the court. The night before, I’d watched him ball out, scoring a team-high 24 points in a victory over Solano Community College. In 2021, he played a lead role in the Kevin Durant-inspired basketball series \u003cem>\u003ca href=\"https://www.npr.org/2021/10/30/1050782644/swagger-follows-a-young-basketball-prodigy-inspired-by-kevin-durants-life-story\">Swagger\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>“He looks at all dimensions of brotherhood,” says Hill of coach Quentin, explaining that the coach’s commitment goes beyond the game. Hill calls Thomas a “brother-slash-coach,” explaining that he “realigns players with their purpose when they’re derailed by tones, emotions and feelings.”\u003c/p>\n\u003cp>And then Hill tells me something that catches my attention.\u003c/p>\n\u003cp>“He prays for us,” Hill says of coach Thomas. He also connects with student athletes daily, shaking their hands.\u003c/p>\n\u003cp>“It makes the path feel more in alignment with the divine, in a way,” Hill says.\u003c/p>\n\u003cfigure id=\"attachment_13971736\" class=\"wp-caption aligncenter\" style=\"max-width: 1616px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13971736\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/dsc09361.jpg\" alt=\"A man in a blue short sleeved-hooded sweatshirt sitting in a chair on a basketball court inside a gym.\" width=\"1616\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/dsc09361.jpg 1616w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/dsc09361-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/dsc09361-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/dsc09361-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/dsc09361-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/dsc09361-1536x1027.jpg 1536w\" sizes=\"auto, (max-width: 1616px) 100vw, 1616px\">\u003cfigcaption class=\"wp-caption-text\">Quentin Thomas at the College of Alameda gymnasium. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Joining a Historic Legacy\u003c/h2>\n\u003cp>Alameda is having a great season. They’ve had some big wins, and learned valuable lessons. Thomas is thankful for the mentors on the bench with him, in his broader community and even in the form of his younger sister.\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/ateezzy/\" target=\"_blank\" rel=\"noopener\">Asha Thomas\u003c/a>, former star basketball player at UC Berkeley and women’s basketball all-time three-point leader, is currently an assistant coach at Sacramento State. She’s 11 years younger than Quentin, but “she’s the person I go to for advice,” Thomas says. (After the win against Solano Community College, Quentin and Asha FaceTimed for an hour.)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=S2gdk5jV9Uc&t=63s\u003c/p>\n\u003cp>Now, as a young coach with potential for growth, and a musician with more work on the way, “I have a village that supports me,” says Thomas.\u003c/p>\n\u003cp>When asked to describe Oakland’s basketball legacy, he candidly replies, “Unique. Profound. Historical.” And since he and Bill Russell are the only ones from Oakland to ever win a national championship, he’s a pretty big part of that legacy.\u003c/p>\n\u003cp>And at the same time, he’s just another human answering the call to use the resources he’s been given — and in Oakland, when you’re given the ability to ball, you give it your all.\u003c/p>\n\u003cp>“When I start talking about God, people think I don’t do nothing bad. Man, I’m a normal person,” Thomas says.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“Did I make mistakes? Yeah,” he adds, reflectively. “But I know who runs my life.”\u003c/p>\n\n", "blocks": [], "excerpt": "Raised in the Town, and with one foot in hip-hop, the NCAA champion now mentors the next generation.", "status": "publish", "parent": 0, "modified": 1739494886, "stats": { "hasAudio": false, "hasVideo": true, "hasChartOrMap": false, "iframeSrcs": [], "hasGoogleForm": false, "hasGallery": false, "hasHearkenModule": false, "hasPolis": false, "paragraphCount": 60, "wordCount": 2390 }, "headData": { "title": "Coach Quentin Thomas Embodies the Spirit of Oakland Basketball | KQED", "description": "Raised in the Town, and with one foot in hip-hop, the NCAA champion now mentors the next generation.", "ogTitle": "", "ogDescription": "", "ogImgId": "", "twTitle": "", "twDescription": "", "twImgId": "", "schema": { "@context": "http://schema.org", "@type": "Article", "headline": "Coach Quentin Thomas Embodies the Spirit of Oakland Basketball", "datePublished": "2025-02-13T12:07:06-08:00", "dateModified": "2025-02-13T17:01:26-08:00", "image": "https://cdn.kqed.org/wp-content/uploads/2020/02/[email protected]" } }, "sticky": false, "nprStoryId": "kqed-13971701", "templateType": "standard", "featuredImageType": "standard", "excludeFromSiteSearch": "Include", "articleAge": "0", "path": "/arts/13971701/quentin-thomas-oakland-basketball", "audioTrackLength": null, "parsedContent": [ { "type": "contentString", "content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>What a lot of people coming to the Bay Area for the NBA All-Star game don’t understand is how, out here, basketball runs so much deeper than one celebratory weekend.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-13833985\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg\" alt=\"\" width=\"180\" height=\"207\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w\" sizes=\"auto, (max-width: 180px) 100vw, 180px\">Here, the sport is more than a game. Basketball is the foundation of a community, a society onto itself. There’s a popular saying: “Ball is life.” But to many players here, basketball ascends into the spiritual realm. Hoops are holy.\u003c/p>\n\u003cp>One of those players is Quentin Thomas, who played on the 2005 NCAA Men’s National Championship winning team at the University of North Carolina.\u003c/p>\n\u003cp>I recently caught up with Thomas at the College of Alameda, where he’s now an assistant coach, about being one of the winningest players in UNC history, the ups-and-downs of his rap career and how he’s dealt with a life-altering condition.\u003c/p>\n\u003cfigure id=\"attachment_13971880\" class=\"wp-caption aligncenter\" style=\"max-width: 1590px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13971880\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/quentin.jalen_.jpg\" alt=\"\" width=\"1590\" height=\"1045\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/quentin.jalen_.jpg 1590w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/quentin.jalen_-800x526.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/quentin.jalen_-1020x670.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/quentin.jalen_-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/quentin.jalen_-768x505.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/quentin.jalen_-1536x1010.jpg 1536w\" sizes=\"auto, (max-width: 1590px) 100vw, 1590px\">\u003cfigcaption class=\"wp-caption-text\">Jalen Scott, left, shoots hoops with coach Quentin Thomas at College of Alameda. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘We Learned the Game By Ourselves’\u003c/h2>\n\u003cp>When I pause outside the gym at College of Alameda during hoop practice, I hear a booming voice coming from inside the building — clearly, the voice of the team’s head coach, basketball hall of famer Gary Payton.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>", "attributes": { "named": {}, "numeric": [] } }, { "type": "component", "content": "", "name": "ad", "attributes": { "named": { "label": "fullwidth" }, "numeric": [ "fullwidth" ] } }, { "type": "contentString", "content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Soon, the doors open, the team scatters, and there’s Thomas, at the far end of the gym, rebounding as a player named Jalen Scott gets in a few jump shots.\u003c/p>\n\u003cp>As he settles into a folding chair on the sideline, Thomas recalls his earliest memory of playing basketball: with his father at the YMCA in downtown Oakland.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>", "attributes": { "named": {}, "numeric": [] } }, { "type": "component", "content": "", "name": "aside", "attributes": { "named": { "postid": "arts_13969956", "label": "" }, "numeric": [] } }, { "type": "contentString", "content": "\u003cdiv class=\"post-body\">\u003cp>From there, life has been a blur of hoop games and tournaments.\u003c/p>\n\u003cp>As a kid he played at recreation centers, most of them in East Oakland: Brookfield, Rainbow, the East Oakland Youth Development Center. He balled in Oakland’s Police Athletic League, played in the Oakland Neighborhood Basketball League, and even got busy on courts across town at North Oakland’s Bushrod Park.\u003c/p>\n\u003cp>“I learned so much just being around the rec centers,” Thomas tells me. The games at those centers, he says, were baptisms by fire.\u003c/p>\n\u003cp>“We didn’t have trainers,” he says. “We learned the game by ourselves.”\u003c/p>\n\u003cfigure id=\"attachment_13971872\" class=\"wp-caption aligncenter\" style=\"max-width: 1389px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13971872\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/QuentinThomas.OaklandTech.jpg\" alt=\"\" width=\"1389\" height=\"1833\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/QuentinThomas.OaklandTech.jpg 1389w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/QuentinThomas.OaklandTech-800x1056.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/QuentinThomas.OaklandTech-1020x1346.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/QuentinThomas.OaklandTech-160x211.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/QuentinThomas.OaklandTech-768x1013.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/QuentinThomas.OaklandTech-1164x1536.jpg 1164w\" sizes=\"auto, (max-width: 1389px) 100vw, 1389px\">\u003cfigcaption class=\"wp-caption-text\">Playing for Oakland Tech, Quentin Thomas positions for a rebound against Fremont High during a semifinal on March 2, 2004 in Oakland. \u003ccite>(Michael Macor/The San Francisco Chronicle via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As a teen, Thomas would go to rec centers for hours at a time, meet someone new, take notes on how they played — and eventually adopt some of their moves. He adds that the \u003ca href=\"https://www.youtube.com/watch?v=ybU9Q_SkeVI\" target=\"_blank\" rel=\"noopener\">\u003cem>And1 Mixtapes\u003c/em>\u003c/a> DVD series also dropped when he was in middle school. “That was heaven,” Thomas says with a laugh.\u003c/p>\n\u003cp>A traditional “pass-first” point guard, Thomas didn’t choose the position so much as his personality dictated it. “I love to see people score, I love to see people win,” he says. “It never really was about me.”\u003c/p>\n\u003cp>While coming up, he took notes from star guards known for getting their own shot, as well as dishing the rock. He studied guards like Oakland’s Gary Payton and Jason Kidd, and footage that his dad showed him of Isiah Thomas and Magic Johnson.\u003c/p>\n\u003cp>“Now with these kids,” says the 38-year-old Thomas, “it’s Steph, it’s Trae, it’s Dame; it’s the three-ball.”\u003c/p>\n\u003ch2>Leaving the Town for North Carolina\u003c/h2>\n\u003cp>When Thomas walked on campus at Oakland Tech as a freshman in 2000, he was surrounded by big names on and off the hoop court. Former NFL star Marshawn Lynch was Thomas’ high school classmate. On the court, starting all four years, he overlapped with future NCAA standout Armondo “Mondo” Surratt.\u003c/p>\n\u003cp>But the center of attention was future NBA champion Leon Powe.\u003c/p>\n\u003cp>“When I was a freshman, we’d have six or seven scouts at our practice,” says Thomas, crediting Powe’s success with opening the door for others at Oakland Tech.\u003c/p>\n\u003cfigure id=\"attachment_13971867\" class=\"wp-caption aligncenter\" style=\"max-width: 576px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13971867\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/OaklandTechBulldogs.jpg\" alt=\"\" width=\"576\" height=\"671\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/OaklandTechBulldogs.jpg 576w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/OaklandTechBulldogs-160x186.jpg 160w\" sizes=\"auto, (max-width: 576px) 100vw, 576px\">\u003cfigcaption class=\"wp-caption-text\">The Oakland Tech men’s basketball team at the Henry J. Kaiser Auditorium in Oakland, after beating McClymonds High School. Quentin Thomas, in his senior year, sits front row, second from right. \u003ccite>(Courtesy Quentin Thomas)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Roy Williams, then head coach of the men’s basketball team at the University of Kansas, began to take note of the wiry guard from East Oakland. By Thomas’ senior year, coach Williams had left Kansas to return to the legendary basketball program at the University of North Carolina. “And then he called me,” says Thomas, surprised that the coach was still interested in him.\u003c/p>\n\u003cp>“I didn’t go out there because of Roy,” Thomas admits. “Carolina wasn’t even on my list.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>", "attributes": { "named": {}, "numeric": [] } }, { "type": "component", "content": "", "name": "aside", "attributes": { "named": { "postid": "arts_13971779", "label": "" }, "numeric": [] } }, { "type": "contentString", "content": "\u003cdiv class=\"post-body\">\u003cp>Thomas wasn’t even thinking about pursuing a career in the NBA. His future priorities broadly involved supporting his family, seeing the world and putting “smiles on people’s faces.” But he wasn’t going to turn down a chance to play at one of the most storied basketball programs in the world.\u003c/p>\n\u003cp>“And during that time,” Thomas says, reflecting on the state of the Town in the early 2000s, “we had like 100 homicides this year, 105 the next year.” He recalls how his games would be packed, but they had to be held at 3:45 p.m. instead of at night for safety reasons.\u003c/p>\n\u003cp>Thomas, who at one point during high school changed his jersey number to honor a friend who’d been shot, says, “I just wanted to get as far away as possible.”\u003c/p>\n\u003cfigure id=\"attachment_13971873\" class=\"wp-caption aligncenter\" style=\"max-width: 1415px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13971873\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Quentin.NC_.jpg\" alt=\"\" width=\"1415\" height=\"2026\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Quentin.NC_.jpg 1415w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Quentin.NC_-800x1145.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Quentin.NC_-1020x1460.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Quentin.NC_-160x229.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Quentin.NC_-768x1100.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Quentin.NC_-1073x1536.jpg 1073w\" sizes=\"auto, (max-width: 1415px) 100vw, 1415px\">\u003cfigcaption class=\"wp-caption-text\">Quentin Thomas shoots during a North Carolina Tarheels 83-66 victory over the University of California Santa Barbara in the Dean Smith Center in Chapel Hill, NC. \u003ccite>(Peyton Williams/Icon Sport Media via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Off the Court and On the Mic\u003c/h2>\n\u003cp>During Thomas’ first year at UNC he played on a team with future NBA players Sean May, Raymond Felton, Marvin Williams and Rashad McCants. That spring, in 2005, the team won a national championship.\u003c/p>\n\u003cp>Ahead of the title game, having grown up watching rap videos on The Box, Thomas freestyled for the entire bus ride from the airport to the hotel. Think the classic \u003ca href=\"https://www.youtube.com/watch?v=c3qMXrEjwe4\" target=\"_blank\" rel=\"noopener\">2006 Malcolm Kelly post-game locker room freestyle\u003c/a>, but unfortunately without anyone filming.\u003c/p>\n\u003cp>Still, he fully credits his teammates at UNC for pushing him to pursue a rap career.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/eHwYhnMrDGQ'\n title='//www.youtube.com/embed/eHwYhnMrDGQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“The year I graduated I met \u003ca href=\"https://www.instagram.com/9thwonder/?hl=en\" target=\"_blank\" rel=\"noopener\">9th Wonder\u003c/a>,” says Thomas. He’d spend roughly a decade on the super producer’s independent label, \u003ca href=\"https://www.jamlarecords.com/\" target=\"_blank\" rel=\"noopener\">Jamla Records\u003c/a>.\u003c/p>\n\u003cp>The experience led to Thomas, who raps under the name GQ, releasing a number of projects, including the 2019 mixtape \u003cem>E 14th: The Town Mix\u003c/em>. He worked with labelmates Rapsody and Reuben Vincent, and appeared alongside David Banner on the soundtrack of \u003ca href=\"https://www.youtube.com/watch?v=hnJLTt1uZtk\" target=\"_blank\" rel=\"noopener\">\u003cem>NBA Live 2010\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>As his music was blossoming, though, hoops continued to call him. Even if he didn’t want to answer, the message was coming from a source too close to deny.\u003c/p>\n\u003cp>Thomas’ then-roommate and former teammate, Michael Copeland, invited him to work with some local hoopers of all ages. “I’m like ‘fuck no, bro, I’m cool,’” Thomas replied.\u003c/p>\n\u003cp>His reluctant façade quickly fell, though. And after a week at the gym, “I’m like bruh, I love this shit.” Thomas says. “That was probably God too, using [Copeland]. Because if it was coming from somebody else, I probably would have been like, nah. But this is my teammate, my brother, someone I trust.”\u003c/p>\n\u003cfigure id=\"attachment_13971874\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13971874\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Quentin.overhead.jpg\" alt=\"\" width=\"2000\" height=\"1377\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Quentin.overhead.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Quentin.overhead-800x551.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Quentin.overhead-1020x702.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Quentin.overhead-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Quentin.overhead-768x529.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Quentin.overhead-1536x1058.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Quentin.overhead-1920x1322.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Quentin Thomas puts a shot up against the North Carolina State Wolfpack on February 20, 2008 in Raleigh, North Carolina. \u003ccite>(Kevin C. Cox/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A Life-Changing Diagnosis\u003c/h2>\n\u003cp>Around the same time, Thomas’ world flipped. Stomach pains, deep cramps and bowel issues began plaguing him in 2009.\u003c/p>\n\u003cp>By 2012, he was diagnosed with ulcerative colitis, a painful condition with no cure.\u003c/p>\n\u003cp>After his diagnosis, Thomas lived between Oakland and North Carolina, even spending a stint in Las Vegas on the coaching staff for state champ runner-ups Silverado High School.\u003c/p>\n\u003cp>But while there, his condition took a turn. In 2023, he lost a drastic amount of weight. He made the hard choice to move back to Oakland permanently.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>", "attributes": { "named": {}, "numeric": [] } }, { "type": "component", "content": "", "name": "aside", "attributes": { "named": { "postid": "arts_13971354", "label": "" }, "numeric": [] } }, { "type": "contentString", "content": "\u003cdiv class=\"post-body\">\u003cp>“I always felt like a failure coming back home,” says Thomas, rueing the impression of moving backwards in life. “I told myself, ‘When I leave here, I won’t come back here ’till I’m right, whether it’s financially or I got my family, I got my career, everything.’”\u003c/p>\n\u003cp>But the move back proved fruitful. He began infusions to manage his colitis. During his trips to the hospital, he’d see people battling ailments and conditions of all kinds, many worse than his. “It just made me appreciate simple stuff,” Thomas tells me.\u003c/p>\n\u003cp>With a newfound gratitude, “I started getting better,” says Thomas. “I started getting stronger, and started becoming Quentin again.”\u003c/p>\n\u003cfigure id=\"attachment_13971875\" class=\"wp-caption aligncenter\" style=\"max-width: 482px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13971875\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Quentin.alameda.team_.jpg\" alt=\"\" width=\"482\" height=\"641\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Quentin.alameda.team_.jpg 482w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Quentin.alameda.team_-160x213.jpg 160w\" sizes=\"auto, (max-width: 482px) 100vw, 482px\">\u003cfigcaption class=\"wp-caption-text\">Quentin Thomas and the team in the gym at College of Alameda. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘He Prays for Us’\u003c/h2>\n\u003cp>Not long after, he got a call from College of Alameda assistant coach Sam Moses, who put him in contact with head coach Gary Payton. Thomas and Payton had been around each other before, not because of hoops, but church.\u003c/p>\n\u003cp>“My mom is from West Oakland, she grew up at Saint John Church,” says Thomas, noting how small the Town is. “That’s where most of the Payton family grew up, too.”\u003c/p>\n\u003cp>The first thing coach Payton told Thomas when he joined the team was “just be you.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>", "attributes": { "named": {}, "numeric": [] } }, { "type": "component", "content": "", "name": "aside", "attributes": { "named": { "postid": "arts_13956839", "label": "" }, "numeric": [] } }, { "type": "contentString", "content": "\u003cdiv class=\"post-body\">\u003cp>Thomas, the youngest on the staff, a man with a naturally mild-mannered demeanor, has a style that’s the complete opposite of coach Payton’s.\u003c/p>\n\u003cp>“GP is gonna yell at you,” says Thomas of the head coach. “He gon’ cuss you out, because that’s what made him great. That’s how he was taught, that’s how he was raised, that’s what brought the best out of him.” Conversely, Thomas says, “For me, I’ve never been that way. Even when I played, I wasn’t the rah-rah type.”\u003c/p>\n\u003cp>As such, he often serves as a bridge between coach Payton and the student-athletes.\u003c/p>\n\u003cp>“It’s tough on them,” Thomas says, referring to the players’ ability to deal with harsh criticism. “It’s tough on GP too,” he adds. “Because he’s not used to having to cater to feelings.”\u003c/p>\n\u003caside class=\"pullquote alignright\">“He looks at all dimensions of brotherhood … he realigns players with their purpose when they’re derailed by tones, emotions and feelings.” \u003ccite>Isaiah Hill on Quentin Thomas\u003c/cite>\u003c/aside>\n\u003cp>Thomas’ role for the team is illustrated by player \u003ca href=\"https://www.instagram.com/7aycash/?hl=en\" target=\"_blank\" rel=\"noopener\">Isaiah Hill\u003c/a>, who I also talk with during my visit to Alameda.\u003c/p>\n\u003cp>A 6’2” guard from New Jersey and the nephew of R&B singer Lauryn Hill, Isaiah Hill is a star on and off the court. The night before, I’d watched him ball out, scoring a team-high 24 points in a victory over Solano Community College. In 2021, he played a lead role in the Kevin Durant-inspired basketball series \u003cem>\u003ca href=\"https://www.npr.org/2021/10/30/1050782644/swagger-follows-a-young-basketball-prodigy-inspired-by-kevin-durants-life-story\">Swagger\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>“He looks at all dimensions of brotherhood,” says Hill of coach Quentin, explaining that the coach’s commitment goes beyond the game. Hill calls Thomas a “brother-slash-coach,” explaining that he “realigns players with their purpose when they’re derailed by tones, emotions and feelings.”\u003c/p>\n\u003cp>And then Hill tells me something that catches my attention.\u003c/p>\n\u003cp>“He prays for us,” Hill says of coach Thomas. He also connects with student athletes daily, shaking their hands.\u003c/p>\n\u003cp>“It makes the path feel more in alignment with the divine, in a way,” Hill says.\u003c/p>\n\u003cfigure id=\"attachment_13971736\" class=\"wp-caption aligncenter\" style=\"max-width: 1616px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13971736\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/dsc09361.jpg\" alt=\"A man in a blue short sleeved-hooded sweatshirt sitting in a chair on a basketball court inside a gym.\" width=\"1616\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/dsc09361.jpg 1616w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/dsc09361-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/dsc09361-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/dsc09361-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/dsc09361-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/dsc09361-1536x1027.jpg 1536w\" sizes=\"auto, (max-width: 1616px) 100vw, 1616px\">\u003cfigcaption class=\"wp-caption-text\">Quentin Thomas at the College of Alameda gymnasium. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Joining a Historic Legacy\u003c/h2>\n\u003cp>Alameda is having a great season. They’ve had some big wins, and learned valuable lessons. Thomas is thankful for the mentors on the bench with him, in his broader community and even in the form of his younger sister.\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/ateezzy/\" target=\"_blank\" rel=\"noopener\">Asha Thomas\u003c/a>, former star basketball player at UC Berkeley and women’s basketball all-time three-point leader, is currently an assistant coach at Sacramento State. She’s 11 years younger than Quentin, but “she’s the person I go to for advice,” Thomas says. (After the win against Solano Community College, Quentin and Asha FaceTimed for an hour.)\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/S2gdk5jV9Uc'\n title='//www.youtube.com/embed/S2gdk5jV9Uc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Now, as a young coach with potential for growth, and a musician with more work on the way, “I have a village that supports me,” says Thomas.\u003c/p>\n\u003cp>When asked to describe Oakland’s basketball legacy, he candidly replies, “Unique. Profound. Historical.” And since he and Bill Russell are the only ones from Oakland to ever win a national championship, he’s a pretty big part of that legacy.\u003c/p>\n\u003cp>And at the same time, he’s just another human answering the call to use the resources he’s been given — and in Oakland, when you’re given the ability to ball, you give it your all.\u003c/p>\n\u003cp>“When I start talking about God, people think I don’t do nothing bad. Man, I’m a normal person,” Thomas says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>", "attributes": { "named": {}, "numeric": [] } }, { "type": "component", "content": "", "name": "ad", "attributes": { "named": { "label": "floatright" }, "numeric": [ "floatright" ] } }, { "type": "contentString", "content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Did I make mistakes? Yeah,” he adds, reflectively. “But I know who runs my life.”\u003c/p>\n\n\u003c/div>\u003c/p>", "attributes": { "named": {}, "numeric": [] } } ], "link": "/arts/13971701/quentin-thomas-oakland-basketball", "authors": [ "11491" ], "categories": [ "arts_1", "arts_13238" ], "tags": [ "arts_14987", "arts_5786", "arts_10342", "arts_10278", "arts_1143" ], "featImg": "arts_13971878", "label": "arts" }, "arts_13971683": { "type": "posts", "id": "arts_13971683", "meta": { "index": "posts_1716263798", "site": "arts", "id": "13971683", "score": null, "sort": [ 1739314178000 ] }, "guestAuthors": [], "slug": "ceremony-new-music-venue-downtown-oakland-crybaby", "title": "A New 1,000-Capacity Music Venue Is Coming to Downtown Oakland", "publishDate": 1739314178, "format": "aside", "headTitle": "A New 1,000-Capacity Music Venue Is Coming to Downtown Oakland | KQED", "labelTerm": { "site": "arts" }, "content": "\u003cfigure id=\"attachment_13971707\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13971707\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Ceremony.uncropped.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Ceremony.uncropped.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Ceremony.uncropped-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Ceremony.uncropped-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Ceremony.uncropped-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Ceremony.uncropped-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Ceremony.uncropped-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Ceremony.uncropped-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The stage and dance floor at Ceremony, a new 1,000-capacity music hall in downtown Oakland, as seen from the venue’s mezzanine. \u003ccite>(Courtesy of Ceremony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A new live music venue is opening next month in downtown Oakland near the corner of Broadway and 13th Street.\u003c/p>\n\u003cp>The 1,000-capacity hall, called Ceremony, will host touring acts of diverse genres — rap, R&B, punk, Latin, comedy, queer pop — alongside local acts and DJ nights.\u003c/p>\n\u003cp>The venue is owned and operated by the team behind \u003ca href=\"https://www.kqed.org/arts/13910010/crybaby-nightclub-oakland-opening-uptown\">Crybaby\u003c/a>, a smaller nightclub located several blocks away.[aside postID='arts_13971466']\u003c/p>\n\u003cp>While San Francisco has similarly sized music venues like the Regency Ballroom, August Hall and the Fillmore, Ceremony will be the only music hall of its size in Oakland.\u003c/p>\n\u003cp>That’s an asset owners Jesse Tittsworth and Dominic Green are banking on.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As far as the booking landscape goes, “There’s a giant queue for a small handful of 1,000-capacity venues in the city. There’s nothing in the East Bay,” Tittsworth says in a recent interview about the opening.\u003c/p>\n\u003cp>Additionally, certain types of shows, Tittsworth adds, just make more sense in Oakland, where there’s a more diverse audience for Latin acts, rap artists and queer dance nights.\u003c/p>\n\u003cp>The venue’s initial lineup in March has yet to be announced. But Tittsworth says that “there’s rave stuff on there, there’s a well-known comedian on there, there’s well-known DJs on there. There’s an extremely well-known rapper in there. All this stuff is confirming as we speak.”\u003c/p>\n\u003cfigure id=\"attachment_13971713\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13971713\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Ceremony.tittsworth.green_.jpg\" alt=\"\" width=\"2000\" height=\"670\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Ceremony.tittsworth.green_.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Ceremony.tittsworth.green_-800x268.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Ceremony.tittsworth.green_-1020x342.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Ceremony.tittsworth.green_-160x54.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Ceremony.tittsworth.green_-768x257.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Ceremony.tittsworth.green_-1536x515.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Ceremony.tittsworth.green_-1920x643.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Jesse Tittsworth and Dominic Green, owners of Ceremony, established themselves in Oakland in 2022 with the nightclub Crybaby. \u003ccite>(Courtesy Ceremony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>An injection of nightlife downtown\u003c/h3>\n\u003cp>Green has deep local roots — his grandfather was a mayor of Berkeley, and his father is a longtime jazz promoter. Tittsworth was a co-founder of Washington D.C.’s U Street Music Hall, an acclaimed smaller venue.\u003c/p>\n\u003cp>The pair opened the 400-capacity Crybaby in 2022 as a no-frills, no-bottle-service, no-VIP-area nightclub, a format quickly embraced by the Oakland music scene. The club has been profitable, Green and Tittsworth say.\u003c/p>\n\u003cp>[aside postID='arts_13953497']But Ceremony was, in fact, the duo’s initial plan. The two first signed a lease at 1220 Broadway six years ago, in 2019, just before the pandemic halted their plans. The building’s ownership has changed hands multiple times since.\u003c/p>\n\u003cp>After extensive renovations, including sound installation, stage construction and other build-outs, the venue is poised to bring an injection of nightlife to the downtown core.\u003c/p>\n\u003cp>With a 6,013-square-foot ground floor overlooked by a second-floor wrap-around mezzanine, the venue boasts a state-of-the-art D&B Audiotechnik sound system. Two bars on either side of the dance floor and a kitchen handle food and drinks.\u003c/p>\n\u003cp>Key to the location, Tittsworth points out, is Ceremony’s immediate proximity to the 12th Street BART station. The venue may also pursue block parties on 13th Street between Broadway and Franklin, which could accommodate between 2,500 to 6,000 people.\u003c/p>\n\u003cfigure id=\"attachment_13971685\" class=\"wp-caption aligncenter\" style=\"max-width: 812px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13971685\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/LuxTheater.jpg\" alt=\"\" width=\"812\" height=\"1253\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/LuxTheater.jpg 812w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/LuxTheater-800x1234.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/LuxTheater-160x247.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/LuxTheater-768x1185.jpg 768w\" sizes=\"auto, (max-width: 812px) 100vw, 812px\">\u003cfigcaption class=\"wp-caption-text\">An newspaper advertisement from the Oakland Post Enquirer for the grand opening of the Lux Theater, July 17, 1948.\u003c/figcaption>\u003c/figure>\n\u003ch3>A historic building\u003c/h3>\n\u003cp>The building at 1220 Broadway has a storied past. Those of a certain age will remember it as the Lux Theater, which showed movies from its glistening grand opening in 1948 to its seedier demise in 1978. More recently, from 1988 to 2019, the former theater served as a Goodwill.\u003c/p>\n\u003cp>When the Oakland City Council approved the opening of Goodwill in 1988, it required the charity organization to remove the Lux Theater’s majestic, protruding marquee from the building.\u003c/p>\n\u003cp>Green finds a certain irony in this. When he met with the city’s historic department recently, he was encouraged to add a marquee, similar to the Lux Theater’s, to the building’s facade.\u003c/p>\n\u003cp>[aside postID='arts_13968285']Renovations of the building have uncovered the usual oddities, especially in the basement. An old steam boiler. A door leading to nothing but bricks. A hollowed-out section of a wall where someone once lived.\u003c/p>\n\u003cp>“Dim light, you know, they dripping pipe. It’s really like \u003cem>Saw V\u003c/em> … it can be a little spooky down there,” says Green.\u003c/p>\n\u003cp>Tittsworth, rolling with the idea, jokes that the basement could host the world’s creepiest mini-rave.\u003c/p>\n\u003cp>Another point of clarification: the two did not name the venue after the Joy Division song “Ceremony,” nor the punk band Ceremony that came roaring out of the Bay Area suburb of Rohnert Park in the early 2000s, but the literal definition of a ceremony, and what it entails.\u003c/p>\n\u003cp>“It just hits on like every culture, right? Every culture has a ceremony, of any sort,” says Green. “For us, wanting to be a place that’s welcoming to all with diverse programming, it felt like a word that encompasses every division of culture.”\u003c/p>\n\u003ch3>Filling a need\u003c/h3>\n\u003cp>One thing that’s been elusive, as a potential driver of downtown revitalization, is bankable support from the cash-strapped city of Oakland.\u003c/p>\n\u003cp>In meetings with various departments, “I hear a lot of support in these rooms, all the way from D.O.T. to OPD to fellow business owners,” says Tittsworth. “It’s just the budgets don’t match the verbal support.”\u003c/p>\n\u003cp>[aside postID='arts_13910010']Oakland has radically reviewed its operating budget in the past year, and “arts and culture has really been slashed,” adds Green. “So we’re pretty much on our own out here.”\u003c/p>\n\u003cp>However, for Ceremony’s unique size, format and location, the two have found support from what’s technically their competitors.\u003c/p>\n\u003cp>Green and Tittsworth have talked with larger live music promoters like Goldenvoice, Another Planet Entertainment and Live Nation. To hear them tell it, they see Ceremony as complementing their Bay Area bookings instead of competing.\u003c/p>\n\u003cp>“It’s really this idea of like, how do we work together to put Oakland on the map?” Tittsworth says.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>For updates on Ceremony’s grand opening and concert schedule, \u003ca href=\"https://www.instagram.com/ceremony.oakland/\">visit the venue’s Instagram\u003c/a>.\u003c/em>\u003c/p>\n\n", "blocks": [], "excerpt": "Ceremony, opening in March, boasts a state-of-the-art sound system and a no-frills approach to live music.", "status": "publish", "parent": 0, "modified": 1739833204, "stats": { "hasAudio": false, "hasVideo": false, "hasChartOrMap": false, "iframeSrcs": [], "hasGoogleForm": false, "hasGallery": false, "hasHearkenModule": false, "hasPolis": false, "paragraphCount": 31, "wordCount": 1079 }, "headData": { "title": "A New 1,000-Capacity Music Venue Is Coming to Oakland | KQED", "description": "Ceremony, opening in March, boasts a state-of-the-art sound system and a no-frills approach to live music.", "ogTitle": "", "ogDescription": "", "ogImgId": "", "twTitle": "", "twDescription": "", "twImgId": "", "socialTitle": "A New 1,000-Capacity Music Venue Is Coming to Oakland %%page%% %%sep%% KQED", "schema": { "@context": "http://schema.org", "@type": "Article", "headline": "A New 1,000-Capacity Music Venue Is Coming to Downtown Oakland", "datePublished": "2025-02-11T14:49:38-08:00", "dateModified": "2025-02-17T15:00:04-08:00", "image": "https://cdn.kqed.org/wp-content/uploads/2020/02/[email protected]" } }, "sticky": false, "WpOldSlug": "a-new-1000-capacity-music-venue-is-coming-to-downtown-oakland", "nprStoryId": "kqed-13971683", "templateType": "standard", "featuredImageType": "standard", "excludeFromSiteSearch": "Include", "articleAge": "0", "path": "/arts/13971683/ceremony-new-music-venue-downtown-oakland-crybaby", "audioTrackLength": null, "parsedContent": [ { "type": "contentString", "content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13971707\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13971707\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Ceremony.uncropped.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Ceremony.uncropped.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Ceremony.uncropped-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Ceremony.uncropped-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Ceremony.uncropped-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Ceremony.uncropped-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Ceremony.uncropped-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Ceremony.uncropped-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The stage and dance floor at Ceremony, a new 1,000-capacity music hall in downtown Oakland, as seen from the venue’s mezzanine. \u003ccite>(Courtesy of Ceremony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A new live music venue is opening next month in downtown Oakland near the corner of Broadway and 13th Street.\u003c/p>\n\u003cp>The 1,000-capacity hall, called Ceremony, will host touring acts of diverse genres — rap, R&B, punk, Latin, comedy, queer pop — alongside local acts and DJ nights.\u003c/p>\n\u003cp>The venue is owned and operated by the team behind \u003ca href=\"https://www.kqed.org/arts/13910010/crybaby-nightclub-oakland-opening-uptown\">Crybaby\u003c/a>, a smaller nightclub located several blocks away.\u003c/p>\u003c/div>", "attributes": { "named": {}, "numeric": [] } }, { "type": "component", "content": "", "name": "aside", "attributes": { "named": { "postid": "arts_13971466", "label": "" }, "numeric": [] } }, { "type": "contentString", "content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>While San Francisco has similarly sized music venues like the Regency Ballroom, August Hall and the Fillmore, Ceremony will be the only music hall of its size in Oakland.\u003c/p>\n\u003cp>That’s an asset owners Jesse Tittsworth and Dominic Green are banking on.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>", "attributes": { "named": {}, "numeric": [] } }, { "type": "component", "content": "", "name": "ad", "attributes": { "named": { "label": "fullwidth" }, "numeric": [ "fullwidth" ] } }, { "type": "contentString", "content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As far as the booking landscape goes, “There’s a giant queue for a small handful of 1,000-capacity venues in the city. There’s nothing in the East Bay,” Tittsworth says in a recent interview about the opening.\u003c/p>\n\u003cp>Additionally, certain types of shows, Tittsworth adds, just make more sense in Oakland, where there’s a more diverse audience for Latin acts, rap artists and queer dance nights.\u003c/p>\n\u003cp>The venue’s initial lineup in March has yet to be announced. But Tittsworth says that “there’s rave stuff on there, there’s a well-known comedian on there, there’s well-known DJs on there. There’s an extremely well-known rapper in there. All this stuff is confirming as we speak.”\u003c/p>\n\u003cfigure id=\"attachment_13971713\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13971713\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Ceremony.tittsworth.green_.jpg\" alt=\"\" width=\"2000\" height=\"670\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Ceremony.tittsworth.green_.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Ceremony.tittsworth.green_-800x268.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Ceremony.tittsworth.green_-1020x342.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Ceremony.tittsworth.green_-160x54.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Ceremony.tittsworth.green_-768x257.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Ceremony.tittsworth.green_-1536x515.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Ceremony.tittsworth.green_-1920x643.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Jesse Tittsworth and Dominic Green, owners of Ceremony, established themselves in Oakland in 2022 with the nightclub Crybaby. \u003ccite>(Courtesy Ceremony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>An injection of nightlife downtown\u003c/h3>\n\u003cp>Green has deep local roots — his grandfather was a mayor of Berkeley, and his father is a longtime jazz promoter. Tittsworth was a co-founder of Washington D.C.’s U Street Music Hall, an acclaimed smaller venue.\u003c/p>\n\u003cp>The pair opened the 400-capacity Crybaby in 2022 as a no-frills, no-bottle-service, no-VIP-area nightclub, a format quickly embraced by the Oakland music scene. The club has been profitable, Green and Tittsworth say.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>", "attributes": { "named": {}, "numeric": [] } }, { "type": "component", "content": "", "name": "aside", "attributes": { "named": { "postid": "arts_13953497", "label": "" }, "numeric": [] } }, { "type": "contentString", "content": "\u003cdiv class=\"post-body\">\u003cp>But Ceremony was, in fact, the duo’s initial plan. The two first signed a lease at 1220 Broadway six years ago, in 2019, just before the pandemic halted their plans. The building’s ownership has changed hands multiple times since.\u003c/p>\n\u003cp>After extensive renovations, including sound installation, stage construction and other build-outs, the venue is poised to bring an injection of nightlife to the downtown core.\u003c/p>\n\u003cp>With a 6,013-square-foot ground floor overlooked by a second-floor wrap-around mezzanine, the venue boasts a state-of-the-art D&B Audiotechnik sound system. Two bars on either side of the dance floor and a kitchen handle food and drinks.\u003c/p>\n\u003cp>Key to the location, Tittsworth points out, is Ceremony’s immediate proximity to the 12th Street BART station. The venue may also pursue block parties on 13th Street between Broadway and Franklin, which could accommodate between 2,500 to 6,000 people.\u003c/p>\n\u003cfigure id=\"attachment_13971685\" class=\"wp-caption aligncenter\" style=\"max-width: 812px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13971685\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/LuxTheater.jpg\" alt=\"\" width=\"812\" height=\"1253\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/LuxTheater.jpg 812w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/LuxTheater-800x1234.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/LuxTheater-160x247.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/LuxTheater-768x1185.jpg 768w\" sizes=\"auto, (max-width: 812px) 100vw, 812px\">\u003cfigcaption class=\"wp-caption-text\">An newspaper advertisement from the Oakland Post Enquirer for the grand opening of the Lux Theater, July 17, 1948.\u003c/figcaption>\u003c/figure>\n\u003ch3>A historic building\u003c/h3>\n\u003cp>The building at 1220 Broadway has a storied past. Those of a certain age will remember it as the Lux Theater, which showed movies from its glistening grand opening in 1948 to its seedier demise in 1978. More recently, from 1988 to 2019, the former theater served as a Goodwill.\u003c/p>\n\u003cp>When the Oakland City Council approved the opening of Goodwill in 1988, it required the charity organization to remove the Lux Theater’s majestic, protruding marquee from the building.\u003c/p>\n\u003cp>Green finds a certain irony in this. When he met with the city’s historic department recently, he was encouraged to add a marquee, similar to the Lux Theater’s, to the building’s facade.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>", "attributes": { "named": {}, "numeric": [] } }, { "type": "component", "content": "", "name": "aside", "attributes": { "named": { "postid": "arts_13968285", "label": "" }, "numeric": [] } }, { "type": "contentString", "content": "\u003cdiv class=\"post-body\">\u003cp>Renovations of the building have uncovered the usual oddities, especially in the basement. An old steam boiler. A door leading to nothing but bricks. A hollowed-out section of a wall where someone once lived.\u003c/p>\n\u003cp>“Dim light, you know, they dripping pipe. It’s really like \u003cem>Saw V\u003c/em> … it can be a little spooky down there,” says Green.\u003c/p>\n\u003cp>Tittsworth, rolling with the idea, jokes that the basement could host the world’s creepiest mini-rave.\u003c/p>\n\u003cp>Another point of clarification: the two did not name the venue after the Joy Division song “Ceremony,” nor the punk band Ceremony that came roaring out of the Bay Area suburb of Rohnert Park in the early 2000s, but the literal definition of a ceremony, and what it entails.\u003c/p>\n\u003cp>“It just hits on like every culture, right? Every culture has a ceremony, of any sort,” says Green. “For us, wanting to be a place that’s welcoming to all with diverse programming, it felt like a word that encompasses every division of culture.”\u003c/p>\n\u003ch3>Filling a need\u003c/h3>\n\u003cp>One thing that’s been elusive, as a potential driver of downtown revitalization, is bankable support from the cash-strapped city of Oakland.\u003c/p>\n\u003cp>In meetings with various departments, “I hear a lot of support in these rooms, all the way from D.O.T. to OPD to fellow business owners,” says Tittsworth. “It’s just the budgets don’t match the verbal support.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>", "attributes": { "named": {}, "numeric": [] } }, { "type": "component", "content": "", "name": "aside", "attributes": { "named": { "postid": "arts_13910010", "label": "" }, "numeric": [] } }, { "type": "contentString", "content": "\u003cdiv class=\"post-body\">\u003cp>Oakland has radically reviewed its operating budget in the past year, and “arts and culture has really been slashed,” adds Green. “So we’re pretty much on our own out here.”\u003c/p>\n\u003cp>However, for Ceremony’s unique size, format and location, the two have found support from what’s technically their competitors.\u003c/p>\n\u003cp>Green and Tittsworth have talked with larger live music promoters like Goldenvoice, Another Planet Entertainment and Live Nation. To hear them tell it, they see Ceremony as complementing their Bay Area bookings instead of competing.\u003c/p>\n\u003cp>“It’s really this idea of like, how do we work together to put Oakland on the map?” Tittsworth says.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>For updates on Ceremony’s grand opening and concert schedule, \u003ca href=\"https://www.instagram.com/ceremony.oakland/\">visit the venue’s Instagram\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>", "attributes": { "named": {}, "numeric": [] } } ], "link": "/arts/13971683/ceremony-new-music-venue-downtown-oakland-crybaby", "authors": [ "185" ], "categories": [ "arts_1", "arts_69", "arts_235" ], "tags": [ "arts_10342", "arts_10278", "arts_831", "arts_6387", "arts_1143", "arts_22410", "arts_913" ], "featImg": "arts_13971706", "label": "arts" }, "food_1337930": { "type": "posts", "id": "food_1337930", "meta": { "index": "posts_1716263798", "site": "food", "id": "1337930", "score": null, "sort": [ 1740179398000 ] }, "guestAuthors": [], "slug": "oaklands-only-haitian-restaurant-is-serving-up-history", "title": "Every Dish You Need to Try at T'Chaka, Oakland's First Haitian Restaurant", "publishDate": 1740179398, "format": "video", "headTitle": "Every Dish You Need to Try at T’Chaka, Oakland’s First Haitian Restaurant | KQED", "labelTerm": {}, "content": "\u003cp>Soup joumou isn’t just food — it’s history. During French colonial rule, enslaved Haitians were forbidden from eating the rich squash or pumpkin-based soup whose ingredients they were forced to harvest. After Haiti won its independence in 1804, it became a symbol of freedom and is traditionally served on January 1st. And if you time it right, you’ll find it at T’Chaka, Oakland’s first and only Haitian restaurant.\u003c/p>\n\u003cp>Taking over the beloved Miss Ollie’s space in Uptown, T’Chaka is serving up dishes that tell a story — and No Crumbs host Josh Decolongon can’t help but visit several times. Griot? Crispy, citrus-marinated pork that might be Haiti’s greatest culinary flex. Oxtails? So tender they barely hold together. And let’s not forget plantains, a Caribbean staple.\u003c/p>\n\u003cp>Subscribe to KQED Food’s \u003cstrong>\u003ca href=\"http://youtube.com/@KQEDFood?sub_confirmation=1\">YouTube channel\u003c/a> \u003c/strong>and follow us on \u003cstrong>\u003ca href=\"http://instagram.com/KQEDFood\">social\u003c/a>.\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>About No Crumbs:\u003c/strong> In KQED’s vertical video series No Crumbs, host Josh Decolongon is a foodie field reporter, uncovering histories and celebrating the culture behind the Bay Area’s exciting and diverse culinary landscape. No Crumbs will inspire new perspectives on the Bay Area food scene you thought you knew. No Crumbs is produced by Josh Decolongon and Janelle Hessig for KQED.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n", "blocks": [], "excerpt": null, "status": "publish", "parent": 0, "modified": 1740179485, "stats": { "hasAudio": false, "hasVideo": false, "hasChartOrMap": false, "iframeSrcs": [], "hasGoogleForm": false, "hasGallery": false, "hasHearkenModule": false, "hasPolis": false, "paragraphCount": 6, "wordCount": 231 }, "headData": { "title": "Every Dish You Need to Try at T'Chaka, Oakland's First Haitian Restaurant | KQED", "description": "Soup joumou isn’t just food — it’s history. No Crumbs is on a mission to exhaust the menu at T'Chaka, Oakland's first Haitian restaurant.", "ogTitle": "", "ogDescription": "", "ogImgId": "", "twTitle": "", "twDescription": "", "twImgId": "", "socialDescription": "Soup joumou isn’t just food — it’s history. No Crumbs is on a mission to exhaust the menu at T'Chaka, Oakland's first Haitian restaurant.", "schema": { "@context": "http://schema.org", "@type": "Article", "headline": "Every Dish You Need to Try at T'Chaka, Oakland's First Haitian Restaurant", "datePublished": "2025-02-21T15:09:58-08:00", "dateModified": "2025-02-21T15:11:25-08:00", "image": "https://cdn.kqed.org/wp-content/uploads/2020/02/[email protected]" } }, "videoEmbed": "https://youtu.be/HTXab0FNiqY?feature=shared", "source": "Food", "sourceUrl": "https://www.kqed.org/food", "sticky": false, "nprByline": "KQED Food Staff", "excludeFromSiteSearch": "Include", "showOnAuthorArchivePages": "No", "articleAge": "0", "path": "/food/1337930/oaklands-only-haitian-restaurant-is-serving-up-history", "audioTrackLength": null, "parsedContent": [ { "type": "contentString", "content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Soup joumou isn’t just food — it’s history. During French colonial rule, enslaved Haitians were forbidden from eating the rich squash or pumpkin-based soup whose ingredients they were forced to harvest. After Haiti won its independence in 1804, it became a symbol of freedom and is traditionally served on January 1st. And if you time it right, you’ll find it at T’Chaka, Oakland’s first and only Haitian restaurant.\u003c/p>\n\u003cp>Taking over the beloved Miss Ollie’s space in Uptown, T’Chaka is serving up dishes that tell a story — and No Crumbs host Josh Decolongon can’t help but visit several times. Griot? Crispy, citrus-marinated pork that might be Haiti’s greatest culinary flex. Oxtails? So tender they barely hold together. And let’s not forget plantains, a Caribbean staple.\u003c/p>\n\u003cp>Subscribe to KQED Food’s \u003cstrong>\u003ca href=\"http://youtube.com/@KQEDFood?sub_confirmation=1\">YouTube channel\u003c/a> \u003c/strong>and follow us on \u003cstrong>\u003ca href=\"http://instagram.com/KQEDFood\">social\u003c/a>.\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>About No Crumbs:\u003c/strong> In KQED’s vertical video series No Crumbs, host Josh Decolongon is a foodie field reporter, uncovering histories and celebrating the culture behind the Bay Area’s exciting and diverse culinary landscape. No Crumbs will inspire new perspectives on the Bay Area food scene you thought you knew. No Crumbs is produced by Josh Decolongon and Janelle Hessig for KQED.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>", "attributes": { "named": {}, "numeric": [] } }, { "type": "component", "content": "", "name": "ad", "attributes": { "named": { "label": "fullwidth" }, "numeric": [ "fullwidth" ] } }, { "type": "contentString", "content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>", "attributes": { "named": {}, "numeric": [] } } ], "link": "/food/1337930/oaklands-only-haitian-restaurant-is-serving-up-history", "authors": [ "byline_food_1337930" ], "series": [ "food_331" ], "categories": [ "food_1" ], "tags": [ "food_387", "food_386", "food_261", "food_188", "food_150", "food_388" ], "featImg": "food_1337932", "label": "source_food_1337930" }, "arts_13972197": { "type": "posts", "id": "arts_13972197", "meta": { "index": "posts_1716263798", "site": "arts", "id": "13972197", "score": null, "sort": [ 1740178072000 ] }, "guestAuthors": [], "slug": "beeps-burgers-best-late-night-san-francisco-milkshakes", "title": "Believe the Teens: Beep’s Is SF’s Best Spot for Late-Night Burgers and Shakes", "publishDate": 1740178072, "format": "aside", "headTitle": "Believe the Teens: Beep’s Is SF’s Best Spot for Late-Night Burgers and Shakes | KQED", "labelTerm": {}, "content": "\u003cfigure id=\"attachment_13972201\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13972201\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Untitled_Artwork-5.jpg\" alt=\"Illustration: Two Asian men in glasses devour a burger and fries.\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Untitled_Artwork-5.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Untitled_Artwork-5-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Untitled_Artwork-5-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Untitled_Artwork-5-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Untitled_Artwork-5-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Untitled_Artwork-5-1536x1536.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">You don’t have to be a teen to enjoy the burgers and fries at Beep’s Burgers, an Ocean Avenue institution since 1962. \u003ccite>(Thien Pham)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/the-midnight-diners\">\u003ci>The Midnight Diners\u003c/i>\u003c/a>\u003ci> is a regular collaboration between KQED food editor Luke Tsai and graphic novelist \u003c/i>\u003ca href=\"https://www.instagram.com/thiendog/?hl=en\">\u003ci>Thien Pham\u003c/i>\u003c/a>\u003ci>. Follow them each week as they explore the hot pot restaurants, taco carts and 24-hour casino buffets that make up the Bay Area’s after-hours dining scene.\u003c/i>\u003c/p>\n\u003cp>The ’60s-style neon “Beep’s Burgers” sign, with its blinking, stylized satellite logo, called out to us like a beacon in the night.\u003c/p>\n\u003cp>We’d come to Ocean Avenue at 10 o’clock on a cold, rainy Friday because we heard that this old-school drive-up burger shack is open until 2 a.m. — and that it’s \u003ci>the\u003c/i> late-night food spot for local teens, who are utterly devoted to the garlic fries and the chocolate shakes.\u003c/p>\n\u003cp>Turns out it’s true: Big, giggly groups of high schoolers kept pulling up all night, in matching varsity jackets after the game, or amped up on adrenaline on their way to a party. There were teenage couples, arm in arm. Lone wolf teens, there strictly for the food. Others arrived in minivans with their parents and siblings, all buttoned up in suits and ties on their way to the night service at a nearby church. The high school teacher in our duo even ran into a current student of his — who’d driven all the way from Oakland with his family to satisfy a burger craving.\u003c/p>\n\u003cp>If you have a teenager in your life, there are even odds you’ll run into them at Beep’s too.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As expected, everyone was ordering milkshakes and big, heaping trays of fries, which, if memory serves correctly, constitute something like 60% of the American teenage diet. You can trust their expertise on this topic is what I’m saying.\u003c/p>\n\u003cp>Usually, when Beep’s has gotten press in the decades since the restaurant first opened in 1962, it’s for being anachronistically affordable — “the best $7 burger in San Francisco,” \u003ca href=\"https://sf.eater.com/2017/12/19/16790324/beeps-burgers-classic-san-francisco-review\">one 2017 review\u003c/a> proclaimed. Like everywhere else in the city, the prices here have crept up a bit: The quarter-pound burger now starts at $9.25, without fries or a drink. Still cheap enough for a student budget, especially if you split an order of fries. More to the point, you’d be hard-pressed to find a better burger in the city at a lower price (and yes, that includes In-n-Out).\u003c/p>\n\u003cfigure id=\"attachment_13972202\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13972202\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Untitled_Artwork-4.jpg\" alt=\"Illustration: A burger shack lit up at night. The neon sign reads, "Beep's Burgers."\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Untitled_Artwork-4.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Untitled_Artwork-4-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Untitled_Artwork-4-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Untitled_Artwork-4-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Untitled_Artwork-4-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Untitled_Artwork-4-1536x1536.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The neon-lit burger shack is open until 2 a.m. every night. \u003ccite>(Thien Pham)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The cheeseburger had everything I look for: a well-charred crust on a loosely compacted, exceptionally juicy patty. Melty American cheese (or cheddar for the wrong-headed). A squishy bun. There’s nothing complicated happening here; the closest comparison would be a really good backyard burger. We didn’t see until too late that you have to ask for pickles and onions, but the high school regulars behind us in line had their orders down to a science, requesting In-n-Out-style customizations like the addition of both grilled \u003ci>and\u003c/i> raw onions.\u003c/p>\n\u003cp>The only thing we didn’t love were those very popular garlic fries. We’d been expecting more of a ballpark style, overloaded with heaps of fresh garlic, and these were more subdued, with a starchy outer coating that stayed somewhat crispy while they cooled. They were fine. Mostly, we wished they were a lot hotter.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cspan style=\"color: #2b2b2b;font-weight: 400\">[aside postID='arts_13971532,arts_13966812,arts_13959808']\u003c/span>\u003c/span>Just about everything else was fantastic. The compact, impeccably crunchy fried chicken sandwich was hot and juicy, and so much easier to eat than the behemothic chicken sandwiches most trendy shops are selling these days. The onion rings were similarly well-fried — the crisp breading a counterpoint to their soft, sweet, slippery insides. Even the very standard-looking chicken nuggets were much better than the norm.\u003c/p>\n\u003cp>If you’re going to go to Beep’s for one thing, though, let it be for those milkshakes, which are thick and substantial but still slurpable through a straw as soon as they come out. Both the chocolate and the Oreo were some of the very best we’ve had in the Bay — the rare shakes you drink down to the last drop.\u003c/p>\n\u003cp>The thing that’s great about Beep’s is how lively and social it feels, even though you’re essentially eating in a small, crowded parking lot. Double- and triple-parking seems to be the norm, and there’s almost no seating to speak of — just one picnic table (abandoned on this drizzly night) and a longish counter running along the front of the shop. Most customers either grabbed their food to go or sat back in their cars with the doors open, stereos blasting, to scarf it down while it was fresh and hot.\u003c/p>\n\u003cp>You don’t have to be a teenager to feel the buzz of excitement of being out late with the people you like best — of sharing a mess of fries, with the night still young and full of promise. You don’t even have to \u003ci>like\u003c/i> the burgers to feel a twinge of sweet nostalgia for that kind of free and easy life. But the burgers definitely help.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/beepsburgers/?hl=en\">\u003ci>Beep’s Burgers\u003c/i>\u003c/a>\u003ci> is open Monday through Saturday, 10 a.m.–2 a.m., and Sunday 11 a.m.–2 a.m. at 1051 Ocean Ave. in San Francisco. There’s also a newer East Bay location in Danville.\u003c/i>\u003c/p>\n\n", "blocks": [], "excerpt": "The Ocean Avenue burger shack is open until 2 a.m. daily.", "status": "publish", "parent": 0, "modified": 1740178575, "stats": { "hasAudio": false, "hasVideo": false, "hasChartOrMap": false, "iframeSrcs": [], "hasGoogleForm": false, "hasGallery": false, "hasHearkenModule": false, "hasPolis": false, "paragraphCount": 16, "wordCount": 972 }, "headData": { "title": "Beep’s Serves SF’s Best Late-Night Burgers and Shakes | KQED", "description": "The Ocean Avenue burger shack is open until 2 a.m. daily.", "ogTitle": "Believe the Teens: Beep’s Is SF’s Best Spot for Late-Night Burgers and Shakes", "ogDescription": "", "ogImgId": "", "twTitle": "Believe the Teens: Beep’s Is SF’s Best Spot for Late-Night Burgers and Shakes", "twDescription": "", "twImgId": "", "socialTitle": "Beep’s Serves SF’s Best Late-Night Burgers and Shakes%%page%% %%sep%% KQED", "schema": { "@context": "http://schema.org", "@type": "Article", "headline": "Believe the Teens: Beep’s Is SF’s Best Spot for Late-Night Burgers and Shakes", "datePublished": "2025-02-21T14:47:52-08:00", "dateModified": "2025-02-21T14:56:15-08:00", "image": "https://cdn.kqed.org/wp-content/uploads/2020/02/[email protected]" } }, "source": "The Midnight Diners", "sourceUrl": "https://www.kqed.org/arts/tag/the-midnight-diners", "sticky": false, "nprStoryId": "kqed-13972197", "excludeFromSiteSearch": "Include", "articleAge": "0", "path": "/arts/13972197/beeps-burgers-best-late-night-san-francisco-milkshakes", "audioTrackLength": null, "parsedContent": [ { "type": "contentString", "content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13972201\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13972201\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Untitled_Artwork-5.jpg\" alt=\"Illustration: Two Asian men in glasses devour a burger and fries.\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Untitled_Artwork-5.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Untitled_Artwork-5-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Untitled_Artwork-5-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Untitled_Artwork-5-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Untitled_Artwork-5-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Untitled_Artwork-5-1536x1536.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">You don’t have to be a teen to enjoy the burgers and fries at Beep’s Burgers, an Ocean Avenue institution since 1962. \u003ccite>(Thien Pham)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/the-midnight-diners\">\u003ci>The Midnight Diners\u003c/i>\u003c/a>\u003ci> is a regular collaboration between KQED food editor Luke Tsai and graphic novelist \u003c/i>\u003ca href=\"https://www.instagram.com/thiendog/?hl=en\">\u003ci>Thien Pham\u003c/i>\u003c/a>\u003ci>. Follow them each week as they explore the hot pot restaurants, taco carts and 24-hour casino buffets that make up the Bay Area’s after-hours dining scene.\u003c/i>\u003c/p>\n\u003cp>The ’60s-style neon “Beep’s Burgers” sign, with its blinking, stylized satellite logo, called out to us like a beacon in the night.\u003c/p>\n\u003cp>We’d come to Ocean Avenue at 10 o’clock on a cold, rainy Friday because we heard that this old-school drive-up burger shack is open until 2 a.m. — and that it’s \u003ci>the\u003c/i> late-night food spot for local teens, who are utterly devoted to the garlic fries and the chocolate shakes.\u003c/p>\n\u003cp>Turns out it’s true: Big, giggly groups of high schoolers kept pulling up all night, in matching varsity jackets after the game, or amped up on adrenaline on their way to a party. There were teenage couples, arm in arm. Lone wolf teens, there strictly for the food. Others arrived in minivans with their parents and siblings, all buttoned up in suits and ties on their way to the night service at a nearby church. The high school teacher in our duo even ran into a current student of his — who’d driven all the way from Oakland with his family to satisfy a burger craving.\u003c/p>\n\u003cp>If you have a teenager in your life, there are even odds you’ll run into them at Beep’s too.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>", "attributes": { "named": {}, "numeric": [] } }, { "type": "component", "content": "", "name": "ad", "attributes": { "named": { "label": "fullwidth" }, "numeric": [ "fullwidth" ] } }, { "type": "contentString", "content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As expected, everyone was ordering milkshakes and big, heaping trays of fries, which, if memory serves correctly, constitute something like 60% of the American teenage diet. You can trust their expertise on this topic is what I’m saying.\u003c/p>\n\u003cp>Usually, when Beep’s has gotten press in the decades since the restaurant first opened in 1962, it’s for being anachronistically affordable — “the best $7 burger in San Francisco,” \u003ca href=\"https://sf.eater.com/2017/12/19/16790324/beeps-burgers-classic-san-francisco-review\">one 2017 review\u003c/a> proclaimed. Like everywhere else in the city, the prices here have crept up a bit: The quarter-pound burger now starts at $9.25, without fries or a drink. Still cheap enough for a student budget, especially if you split an order of fries. More to the point, you’d be hard-pressed to find a better burger in the city at a lower price (and yes, that includes In-n-Out).\u003c/p>\n\u003cfigure id=\"attachment_13972202\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13972202\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Untitled_Artwork-4.jpg\" alt=\"Illustration: A burger shack lit up at night. The neon sign reads, "Beep's Burgers."\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Untitled_Artwork-4.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Untitled_Artwork-4-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Untitled_Artwork-4-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Untitled_Artwork-4-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Untitled_Artwork-4-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Untitled_Artwork-4-1536x1536.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The neon-lit burger shack is open until 2 a.m. every night. \u003ccite>(Thien Pham)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The cheeseburger had everything I look for: a well-charred crust on a loosely compacted, exceptionally juicy patty. Melty American cheese (or cheddar for the wrong-headed). A squishy bun. There’s nothing complicated happening here; the closest comparison would be a really good backyard burger. We didn’t see until too late that you have to ask for pickles and onions, but the high school regulars behind us in line had their orders down to a science, requesting In-n-Out-style customizations like the addition of both grilled \u003ci>and\u003c/i> raw onions.\u003c/p>\n\u003cp>The only thing we didn’t love were those very popular garlic fries. We’d been expecting more of a ballpark style, overloaded with heaps of fresh garlic, and these were more subdued, with a starchy outer coating that stayed somewhat crispy while they cooled. They were fine. Mostly, we wished they were a lot hotter.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cspan style=\"color: #2b2b2b;font-weight: 400\">\u003c/p>\u003c/div>", "attributes": { "named": {}, "numeric": [] } }, { "type": "component", "content": "", "name": "aside", "attributes": { "named": { "postid": "arts_13971532,arts_13966812,arts_13959808", "label": "" }, "numeric": [] } }, { "type": "contentString", "content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/span>Just about everything else was fantastic. The compact, impeccably crunchy fried chicken sandwich was hot and juicy, and so much easier to eat than the behemothic chicken sandwiches most trendy shops are selling these days. The onion rings were similarly well-fried — the crisp breading a counterpoint to their soft, sweet, slippery insides. Even the very standard-looking chicken nuggets were much better than the norm.\u003c/p>\n\u003cp>If you’re going to go to Beep’s for one thing, though, let it be for those milkshakes, which are thick and substantial but still slurpable through a straw as soon as they come out. Both the chocolate and the Oreo were some of the very best we’ve had in the Bay — the rare shakes you drink down to the last drop.\u003c/p>\n\u003cp>The thing that’s great about Beep’s is how lively and social it feels, even though you’re essentially eating in a small, crowded parking lot. Double- and triple-parking seems to be the norm, and there’s almost no seating to speak of — just one picnic table (abandoned on this drizzly night) and a longish counter running along the front of the shop. Most customers either grabbed their food to go or sat back in their cars with the doors open, stereos blasting, to scarf it down while it was fresh and hot.\u003c/p>\n\u003cp>You don’t have to be a teenager to feel the buzz of excitement of being out late with the people you like best — of sharing a mess of fries, with the night still young and full of promise. You don’t even have to \u003ci>like\u003c/i> the burgers to feel a twinge of sweet nostalgia for that kind of free and easy life. But the burgers definitely help.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/beepsburgers/?hl=en\">\u003ci>Beep’s Burgers\u003c/i>\u003c/a>\u003ci> is open Monday through Saturday, 10 a.m.–2 a.m., and Sunday 11 a.m.–2 a.m. at 1051 Ocean Ave. in San Francisco. There’s also a newer East Bay location in Danville.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>", "attributes": { "named": {}, "numeric": [] } } ], "link": "/arts/13972197/beeps-burgers-best-late-night-san-francisco-milkshakes", "authors": [ "11743", "11753" ], "series": [ "arts_22316" ], "categories": [ "arts_1", "arts_12276" ], "tags": [ "arts_21946", "arts_10278", "arts_1297", "arts_8805", "arts_1146", "arts_5658", "arts_931", "arts_21928" ], "featImg": "arts_13972200", "label": "source_arts_13972197" }, "arts_13972098": { "type": "posts", "id": "arts_13972098", "meta": { "index": "posts_1716263798", "site": "arts", "id": "13972098", "score": null, "sort": [ 1740080192000 ] }, "guestAuthors": [], "slug": "malinda-russell-first-cookbook-black-american-woman-new-edition", "title": "First Known Cookbook by a Black American Woman Is Back in Print", "publishDate": 1740080192, "format": "standard", "headTitle": "First Known Cookbook by a Black American Woman Is Back in Print | KQED", "labelTerm": {}, "content": "\u003cp>The oldest published cookbook by a Black American woman — that we know of — is out \u003ca href=\"https://press.umich.edu/Books/A/A-Domestic-Cook-Book\">in a brand new edition\u003c/a> this February.\u003c/p>\n\u003cp>\u003ca href=\"https://malindarussell.com/\">Malinda Russell\u003c/a> wrote \u003cem>A Domestic Cookbook: Containing a Careful Selection of Useful Receipts for the Kitchen\u003c/em> in 1866. We know sadly little about her, says Rafia Zafar, a retired professor at Washington University in St Louis, Missouri, who contributed a foreword to the new edition.\u003c/p>\n\u003cp>“She’s widowed early. She has a handicapped child. She starts her own business. She has a pastry shop,” Zafar says.\u003c/p>\n\u003cp>[aside postid='arts_13892514']Russell’s shop may explain why you can find at least a hundred recipes for sweets in \u003cem>A Domestic Cookbook\u003c/em>. The desserts are old-fashioned: allspice cake, French lady cake, lemon puffs, boiled berry pudding. But they still sound delicious. Her cookbook also includes a number of savory recipes, recipes for shampoo and cologne — and remedies for toothaches, corns, even dropsy (an archaic term for swelling and edema.)\u003c/p>\n\u003cp>Zafar, who wrote the 2019 book \u003cem>Recipes for Respect: African American Meals and Meaning \u003c/em>says for a long time, scholars believed that the oldest cookbook by a Black American woman was Abby Fisher’s \u003ca href=\"https://www.kqed.org/arts/13892514/the-formerly-enslaved-cook-who-became-a-celebrity-chef-in-san-francisco\">\u003cem>What Mrs. Fisher Knows About Old Southern Cooking\u003c/em>\u003c/a>, from 1881. Fisher was born enslaved in South Carolina, and could not read or write. She dictated her cookbook to friends after becoming something of a local culinary celebrity in San Francisco, where she had moved in 1877. Two Black men wrote earlier books still: Robert Roberts’ 1827 manual \u003cem>The House Servant’s Directory\u003c/em> and Tunis Campbell’s 1848 book, \u003cem>Hotel Keepers, Head Waiters and Housekeeper’s Guide\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13972121\" class=\"wp-caption alignright\" style=\"max-width: 1650px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/CookbookCover.jpg\" alt=\"\" width=\"1650\" height=\"2550\" class=\"size-full wp-image-13972121\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/CookbookCover.jpg 1650w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/CookbookCover-800x1236.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/CookbookCover-1020x1576.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/CookbookCover-160x247.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/CookbookCover-768x1187.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/CookbookCover-994x1536.jpg 994w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/CookbookCover-1325x2048.jpg 1325w\" sizes=\"auto, (max-width: 1650px) 100vw, 1650px\">\u003cfigcaption class=\"wp-caption-text\">The cover of the reissued version of Malinda Russell’s 1866 cookbook. \u003ccite>(Shiraz Abdullahi Gallab/University of Michigan Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Malinda Russell’s cookbook was discovered at the bottom of a box of books in the early 2000s by culinary historian Janice Bluestein Longone, who donated it as part of \u003ca href=\"https://www.lib.umich.edu/collections/collecting-areas/special-collections/janice-bluestein-longone-culinary-archive\">an extensive archive of cookbooks\u003c/a> now stored at the University of Michigan.\u003c/p>\n\u003cp>Russell was never enslaved, as she wrote in the first paragraph of her book.\u003c/p>\n\u003cp>“I was born in Washington County, and raised in Green County, in the eastern part of Tennessee,” she wrote. “My mother, Malinda Russell, was a member of one of the first families set free by Mr. Noddie, of Virginia … My mother died when I was quite young.”\u003c/p>\n\u003cp>As a teenager, Russell wrote, she planned to move to Liberia, but was robbed by one of her fellow travelers before she left the country. Resourceful and industrious, she opened a washing business and boarding house before the pastry shop, but lost her savings when she was robbed again in 1864 “by a guerrilla party who threatened my life if I revealed who they were.” Her savings, she wrote, were all she had to support herself and her son, who lacked the use of one hand. \u003cem>A Domestic Cookbook\u003c/em> came partly as an attempt to recoup those losses.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“This is one reason why I publish my Cook Book,” Russell wrote. “I know my book will sell well where I have cooked, and am sure those using my receipts will be well satisfied.”\u003c/p>\n\u003cp>For years, the cookbook has been available \u003ca href=\"https://malindarussell.com/free-pdf-of-malinda-russells-1866-cookbook/\">for free online through open access\u003c/a>. The Virginia Museum of History and Culture included Russell’s recipe for ginger drop cake in its online series \u003ca href=\"https://virginiahistory.org/research/collections/recipes-remade\">Recipes Remade\u003c/a>, featuring reference coordinator Matthew Guillen stirring together molasses and butter \u003ca href=\"https://www.youtube.com/watch?v=t0aGZRYOS68\">in a YouTube video\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=t0aGZRYOS68\u003c/p>\n\u003cp>He’s one of many home cooks and historians who’ve paid tribute to Russell by adapting her 160-year-old recipes. That’s not easy, says Zafar, given the lack of information in old cookbooks like Russell’s that leave out the size of pans and the heat of ovens. She points to one example from Russell’s cookbook:\u003c/p>\n\u003cp>\u003cem>One pound flour. One ditto butter. Nine eggs. Two quarts milk. A little yeast mixed together warm.\u003c/em>\u003c/p>\n\u003cp>“That’s the recipe,” Zafar says. “People always say reading cookbooks are like reading novels, but reading cookbooks are also like reading ethnographies and travel books.”\u003c/p>\n\u003cp>Or perhaps, books that can travel through time. What a joy in this Black History Month, she adds, to meet a heroine as determined as Malinda Russell, who reminds readers today how creativity and talent have circulated and survived.\u003c/p>\n\u003cp>\u003cem>Copyright © 2025 NPR\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n", "blocks": [], "excerpt": "Malinda Russell’s ‘A Domestic Cookbook,’ containing over 100 recipes for sweets, was first published in 1866.", "status": "publish", "parent": 0, "modified": 1740080192, "stats": { "hasAudio": false, "hasVideo": true, "hasChartOrMap": false, "iframeSrcs": [], "hasGoogleForm": false, "hasGallery": false, "hasHearkenModule": false, "hasPolis": false, "paragraphCount": 18, "wordCount": 764 }, "headData": { "title": "First Known Cookbook by a Black American Woman Reissued | KQED", "description": "Malinda Russell’s ‘A Domestic Cookbook,’ containing over 100 recipes for sweets, was first published in 1866.", "ogTitle": "First Known Cookbook by a Black American Woman Is Back in Print", "ogDescription": "", "ogImgId": "", "twTitle": "First Known Cookbook by a Black American Woman Is Back in Print", "twDescription": "", "twImgId": "", "socialTitle": "First Known Cookbook by a Black American Woman Reissued %%page%% %%sep%% KQED", "schema": { "@context": "http://schema.org", "@type": "Article", "headline": "First Known Cookbook by a Black American Woman Is Back in Print", "datePublished": "2025-02-20T11:36:32-08:00", "dateModified": "2025-02-20T11:36:32-08:00", "image": "https://cdn.kqed.org/wp-content/uploads/2020/02/[email protected]" } }, "source": "Food", "sourceUrl": "https://www.kqed.org/food", "sticky": false, "nprByline": "Neda Ulaby, NPR", "nprStoryId": "nx-s1-5299983", "nprHtmlLink": "https://www.npr.org/2025/02/20/nx-s1-5299983/first-cookbook-by-black-american-woman-malinda-russell", "nprRetrievedStory": "1", "nprPubDate": "2025-02-20T05:00:00-05:00", "nprStoryDate": "2025-02-20T05:00:00-05:00", "nprLastModifiedDate": "2025-02-20T06:41:43.515-05:00", "nprAudio": "https://ondemand.npr.org/anon.npr-mp3/npr/me/2025/02/20250220_me_first_known_cookbook_by_a_black_american_woman_gets_new_edition_160_years_later.mp3?size=2149609&d=134311&e=nx-s1-5299983", "templateType": "standard", "featuredImageType": "standard", "excludeFromSiteSearch": "Include", "showOnAuthorArchivePages": "No", "articleAge": "0", "path": "/arts/13972098/malinda-russell-first-cookbook-black-american-woman-new-edition", "audioUrl": "https://ondemand.npr.org/anon.npr-mp3/npr/me/2025/02/20250220_me_first_known_cookbook_by_a_black_american_woman_gets_new_edition_160_years_later.mp3?size=2149609&d=134311&e=nx-s1-5299983", "audioTrackLength": null, "parsedContent": [ { "type": "contentString", "content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The oldest published cookbook by a Black American woman — that we know of — is out \u003ca href=\"https://press.umich.edu/Books/A/A-Domestic-Cook-Book\">in a brand new edition\u003c/a> this February.\u003c/p>\n\u003cp>\u003ca href=\"https://malindarussell.com/\">Malinda Russell\u003c/a> wrote \u003cem>A Domestic Cookbook: Containing a Careful Selection of Useful Receipts for the Kitchen\u003c/em> in 1866. We know sadly little about her, says Rafia Zafar, a retired professor at Washington University in St Louis, Missouri, who contributed a foreword to the new edition.\u003c/p>\n\u003cp>“She’s widowed early. She has a handicapped child. She starts her own business. She has a pastry shop,” Zafar says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>", "attributes": { "named": {}, "numeric": [] } }, { "type": "component", "content": "", "name": "aside", "attributes": { "named": { "postid": "arts_13892514", "label": "" }, "numeric": [] } }, { "type": "contentString", "content": "\u003cdiv class=\"post-body\">\u003cp>Russell’s shop may explain why you can find at least a hundred recipes for sweets in \u003cem>A Domestic Cookbook\u003c/em>. The desserts are old-fashioned: allspice cake, French lady cake, lemon puffs, boiled berry pudding. But they still sound delicious. Her cookbook also includes a number of savory recipes, recipes for shampoo and cologne — and remedies for toothaches, corns, even dropsy (an archaic term for swelling and edema.)\u003c/p>\n\u003cp>Zafar, who wrote the 2019 book \u003cem>Recipes for Respect: African American Meals and Meaning \u003c/em>says for a long time, scholars believed that the oldest cookbook by a Black American woman was Abby Fisher’s \u003ca href=\"https://www.kqed.org/arts/13892514/the-formerly-enslaved-cook-who-became-a-celebrity-chef-in-san-francisco\">\u003cem>What Mrs. Fisher Knows About Old Southern Cooking\u003c/em>\u003c/a>, from 1881. Fisher was born enslaved in South Carolina, and could not read or write. She dictated her cookbook to friends after becoming something of a local culinary celebrity in San Francisco, where she had moved in 1877. Two Black men wrote earlier books still: Robert Roberts’ 1827 manual \u003cem>The House Servant’s Directory\u003c/em> and Tunis Campbell’s 1848 book, \u003cem>Hotel Keepers, Head Waiters and Housekeeper’s Guide\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13972121\" class=\"wp-caption alignright\" style=\"max-width: 1650px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/CookbookCover.jpg\" alt=\"\" width=\"1650\" height=\"2550\" class=\"size-full wp-image-13972121\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/CookbookCover.jpg 1650w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/CookbookCover-800x1236.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/CookbookCover-1020x1576.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/CookbookCover-160x247.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/CookbookCover-768x1187.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/CookbookCover-994x1536.jpg 994w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/CookbookCover-1325x2048.jpg 1325w\" sizes=\"auto, (max-width: 1650px) 100vw, 1650px\">\u003cfigcaption class=\"wp-caption-text\">The cover of the reissued version of Malinda Russell’s 1866 cookbook. \u003ccite>(Shiraz Abdullahi Gallab/University of Michigan Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Malinda Russell’s cookbook was discovered at the bottom of a box of books in the early 2000s by culinary historian Janice Bluestein Longone, who donated it as part of \u003ca href=\"https://www.lib.umich.edu/collections/collecting-areas/special-collections/janice-bluestein-longone-culinary-archive\">an extensive archive of cookbooks\u003c/a> now stored at the University of Michigan.\u003c/p>\n\u003cp>Russell was never enslaved, as she wrote in the first paragraph of her book.\u003c/p>\n\u003cp>“I was born in Washington County, and raised in Green County, in the eastern part of Tennessee,” she wrote. “My mother, Malinda Russell, was a member of one of the first families set free by Mr. Noddie, of Virginia … My mother died when I was quite young.”\u003c/p>\n\u003cp>As a teenager, Russell wrote, she planned to move to Liberia, but was robbed by one of her fellow travelers before she left the country. Resourceful and industrious, she opened a washing business and boarding house before the pastry shop, but lost her savings when she was robbed again in 1864 “by a guerrilla party who threatened my life if I revealed who they were.” Her savings, she wrote, were all she had to support herself and her son, who lacked the use of one hand. \u003cem>A Domestic Cookbook\u003c/em> came partly as an attempt to recoup those losses.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>", "attributes": { "named": {}, "numeric": [] } }, { "type": "component", "content": "", "name": "ad", "attributes": { "named": { "label": "fullwidth" }, "numeric": [ "fullwidth" ] } }, { "type": "contentString", "content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“This is one reason why I publish my Cook Book,” Russell wrote. “I know my book will sell well where I have cooked, and am sure those using my receipts will be well satisfied.”\u003c/p>\n\u003cp>For years, the cookbook has been available \u003ca href=\"https://malindarussell.com/free-pdf-of-malinda-russells-1866-cookbook/\">for free online through open access\u003c/a>. The Virginia Museum of History and Culture included Russell’s recipe for ginger drop cake in its online series \u003ca href=\"https://virginiahistory.org/research/collections/recipes-remade\">Recipes Remade\u003c/a>, featuring reference coordinator Matthew Guillen stirring together molasses and butter \u003ca href=\"https://www.youtube.com/watch?v=t0aGZRYOS68\">in a YouTube video\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/t0aGZRYOS68'\n title='//www.youtube.com/embed/t0aGZRYOS68'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>He’s one of many home cooks and historians who’ve paid tribute to Russell by adapting her 160-year-old recipes. That’s not easy, says Zafar, given the lack of information in old cookbooks like Russell’s that leave out the size of pans and the heat of ovens. She points to one example from Russell’s cookbook:\u003c/p>\n\u003cp>\u003cem>One pound flour. One ditto butter. Nine eggs. Two quarts milk. A little yeast mixed together warm.\u003c/em>\u003c/p>\n\u003cp>“That’s the recipe,” Zafar says. “People always say reading cookbooks are like reading novels, but reading cookbooks are also like reading ethnographies and travel books.”\u003c/p>\n\u003cp>Or perhaps, books that can travel through time. What a joy in this Black History Month, she adds, to meet a heroine as determined as Malinda Russell, who reminds readers today how creativity and talent have circulated and survived.\u003c/p>\n\u003cp>\u003cem>Copyright © 2025 NPR\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>", "attributes": { "named": {}, "numeric": [] } } ], "link": "/arts/13972098/malinda-russell-first-cookbook-black-american-woman-new-edition", "authors": [ "byline_arts_13972098" ], "categories": [ "arts_1", "arts_73", "arts_12276", "arts_7862" ], "tags": [ "arts_4096", "arts_16106", "arts_1297", "arts_2640" ], "affiliates": [ "arts_137" ], "featImg": "arts_13972116", "label": "source_arts_13972098" }, "arts_13970340": { "type": "posts", "id": "arts_13970340", "meta": { "index": "posts_1716263798", "site": "arts", "id": "13970340", "score": null, "sort": [ 1736970100000 ] }, "guestAuthors": [], "slug": "casual-starduster-rap-oakland", "title": "With Casual’s ‘Starduster,’ a Rap Legend Reaches New Heights", "publishDate": 1736970100, "format": "standard", "headTitle": "With Casual’s ‘Starduster,’ a Rap Legend Reaches New Heights | KQED", "labelTerm": { "term": 140, "site": "arts" }, "content": "\u003cp>Despite being part of a legendary crew, releasing a classic major label debut, and participating in one of the world’s most famous rap battles, the rapper \u003ca href=\"https://www.instagram.com/casualrapgod/?hl=en\">Casual\u003c/a> has always felt a bit underrated.\u003c/p>\n\u003cp>Maybe it’s because his style sits at the center of so many overlapping circles in the Venn diagram of Bay Area rap: streetwise, intelligent, angular. Maybe it’s because his bars are tightly composed instead of elastic and pliable. None of these are impediments to quality, but in a trend-centered rap landscape, they \u003cem>can\u003c/em> cause a fickle public to overlook a simple fact: Casual never fell off.\u003c/p>\n\u003cp>For proof, look no further than \u003cem>\u003ca href=\"https://casual1.bandcamp.com/album/starduster\">Starduster\u003c/a>\u003c/em>, a five-song EP released last November that shows the Hieroglyphics rapper in his most solid form. With sharp, inventive production by Albert Jenkins and a renewed fire in his pen, Casual isn’t stuck in the past. Over Jenkins’ futuristic production, he opens the EP with “The Design,” acknowledging modern concerns like commenting and blocking: “Rappers follow me ’cause rhymes from my catalog read like an intergalactic battle log,” he spits.\u003c/p>\n\u003cp>[aside postID='arts_13924170']Guitarists talk incessantly about tone; rappers don’t, enough. But Casual’s tone carries multitudes. See “Belly (Remix),” which, after some nasally bars with more internal rhyming than Dr. Seuss, slowly pivots to a voice full of defiance and grit. There’s a street scene, a shady character on the corner, an errant tattoo gun. Casual wraps it up declaring: “Imma keep puttin’ rhymes on the gram ’til you silly motherfuckers realize who I am.”\u003c/p>\n\u003cp>\u003cem>Starduster\u003c/em> is released by Needle to the Groove Records, a record store with locations in Fremont and San Jose. But ever since his 1993 debut \u003cem>Fear Itself\u003c/em>, Casual’s been inextricably linked with Oakland, making this week’s record-release show in the Town a homecoming not to miss. Supporting DJs Domino and Platurn need no introduction among hip-hop heads, and Psalm One and Fatboy Sharif, from Chicago and New Jersey, are set to fly out for the occasion. Needle to the Groove’s own David Ma and \u003cem>Starduster\u003c/em> producer Jenkins will also man the decks.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It’s hard to talk about this EP without acknowledging Casual’s one-time battle opponent \u003ca href=\"https://www.kqed.org/arts/13968340/saafir-dead-oakland-rapper-dies-at-54\">Saafir\u003c/a>, the immensely gifted rapper who died just days after \u003cem>Starduster\u003c/em>’s release. Both Casual and Saafir moved on from their \u003ca href=\"https://www.kqed.org/arts/13924170/hieroglyphics-hobo-junction-battle-documentary\">legendary 1994 on-air battle\u003c/a> with an eventual \u003ca href=\"https://youtu.be/E8a2coZvmpE?feature=shared&t=780\">mutual respect\u003c/a>; even today, Casual can \u003ca href=\"https://www.youtube.com/live/2NQW6x8JMec?feature=shared&t=6030\">rap along to parts of Saafir’s verses\u003c/a>.\u003c/p>\n\u003cp>Rap battles often propel both contenders to new heights. With \u003cem>Starduster\u003c/em>, Casual proves he’s still ascending, higher and higher.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Casual headlines a record-release show for ‘Starduster’ on Thursday, Jan. 16, at Crybaby in Oakland. \u003ca href=\"https://crybaby.live/tm-event/the-return-casual-from-the-legendary-hieroglyphics-crew-live/\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n", "blocks": [], "excerpt": "The Heiroglyphics rapper celebrates his new EP with a release party at Oakland’s Crybaby.", "status": "publish", "parent": 0, "modified": 1736970417, "stats": { "hasAudio": false, "hasVideo": false, "hasChartOrMap": false, "iframeSrcs": [], "hasGoogleForm": false, "hasGallery": false, "hasHearkenModule": false, "hasPolis": false, "paragraphCount": 10, "wordCount": 485 }, "headData": { "title": "With Casual’s ‘Starduster,’ a Rap Legend Reaches New Heights | KQED", "description": "The Heiroglyphics rapper celebrates his new EP with a release party at Oakland’s Crybaby.", "ogTitle": "", "ogDescription": "", "ogImgId": "", "twTitle": "", "twDescription": "", "twImgId": "", "schema": { "@context": "http://schema.org", "@type": "Article", "headline": "With Casual’s ‘Starduster,’ a Rap Legend Reaches New Heights", "datePublished": "2025-01-15T11:41:40-08:00", "dateModified": "2025-01-15T11:46:57-08:00", "image": "https://cdn.kqed.org/wp-content/uploads/2020/02/[email protected]" } }, "sticky": false, "nprStoryId": "kqed-13970340", "templateType": "standard", "featuredImageType": "standard", "excludeFromSiteSearch": "Include", "articleAge": "0", "path": "/arts/13970340/casual-starduster-rap-oakland", "audioTrackLength": null, "parsedContent": [ { "type": "contentString", "content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Despite being part of a legendary crew, releasing a classic major label debut, and participating in one of the world’s most famous rap battles, the rapper \u003ca href=\"https://www.instagram.com/casualrapgod/?hl=en\">Casual\u003c/a> has always felt a bit underrated.\u003c/p>\n\u003cp>Maybe it’s because his style sits at the center of so many overlapping circles in the Venn diagram of Bay Area rap: streetwise, intelligent, angular. Maybe it’s because his bars are tightly composed instead of elastic and pliable. None of these are impediments to quality, but in a trend-centered rap landscape, they \u003cem>can\u003c/em> cause a fickle public to overlook a simple fact: Casual never fell off.\u003c/p>\n\u003cp>For proof, look no further than \u003cem>\u003ca href=\"https://casual1.bandcamp.com/album/starduster\">Starduster\u003c/a>\u003c/em>, a five-song EP released last November that shows the Hieroglyphics rapper in his most solid form. With sharp, inventive production by Albert Jenkins and a renewed fire in his pen, Casual isn’t stuck in the past. Over Jenkins’ futuristic production, he opens the EP with “The Design,” acknowledging modern concerns like commenting and blocking: “Rappers follow me ’cause rhymes from my catalog read like an intergalactic battle log,” he spits.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>", "attributes": { "named": {}, "numeric": [] } }, { "type": "component", "content": "", "name": "aside", "attributes": { "named": { "postid": "arts_13924170", "label": "" }, "numeric": [] } }, { "type": "contentString", "content": "\u003cdiv class=\"post-body\">\u003cp>Guitarists talk incessantly about tone; rappers don’t, enough. But Casual’s tone carries multitudes. See “Belly (Remix),” which, after some nasally bars with more internal rhyming than Dr. Seuss, slowly pivots to a voice full of defiance and grit. There’s a street scene, a shady character on the corner, an errant tattoo gun. Casual wraps it up declaring: “Imma keep puttin’ rhymes on the gram ’til you silly motherfuckers realize who I am.”\u003c/p>\n\u003cp>\u003cem>Starduster\u003c/em> is released by Needle to the Groove Records, a record store with locations in Fremont and San Jose. But ever since his 1993 debut \u003cem>Fear Itself\u003c/em>, Casual’s been inextricably linked with Oakland, making this week’s record-release show in the Town a homecoming not to miss. Supporting DJs Domino and Platurn need no introduction among hip-hop heads, and Psalm One and Fatboy Sharif, from Chicago and New Jersey, are set to fly out for the occasion. Needle to the Groove’s own David Ma and \u003cem>Starduster\u003c/em> producer Jenkins will also man the decks.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>", "attributes": { "named": {}, "numeric": [] } }, { "type": "component", "content": "", "name": "ad", "attributes": { "named": { "label": "fullwidth" }, "numeric": [ "fullwidth" ] } }, { "type": "contentString", "content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s hard to talk about this EP without acknowledging Casual’s one-time battle opponent \u003ca href=\"https://www.kqed.org/arts/13968340/saafir-dead-oakland-rapper-dies-at-54\">Saafir\u003c/a>, the immensely gifted rapper who died just days after \u003cem>Starduster\u003c/em>’s release. Both Casual and Saafir moved on from their \u003ca href=\"https://www.kqed.org/arts/13924170/hieroglyphics-hobo-junction-battle-documentary\">legendary 1994 on-air battle\u003c/a> with an eventual \u003ca href=\"https://youtu.be/E8a2coZvmpE?feature=shared&t=780\">mutual respect\u003c/a>; even today, Casual can \u003ca href=\"https://www.youtube.com/live/2NQW6x8JMec?feature=shared&t=6030\">rap along to parts of Saafir’s verses\u003c/a>.\u003c/p>\n\u003cp>Rap battles often propel both contenders to new heights. With \u003cem>Starduster\u003c/em>, Casual proves he’s still ascending, higher and higher.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Casual headlines a record-release show for ‘Starduster’ on Thursday, Jan. 16, at Crybaby in Oakland. \u003ca href=\"https://crybaby.live/tm-event/the-return-casual-from-the-legendary-hieroglyphics-crew-live/\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>", "attributes": { "named": {}, "numeric": [] } } ], "link": "/arts/13970340/casual-starduster-rap-oakland", "authors": [ "185" ], "programs": [ "arts_140" ], "categories": [ "arts_1", "arts_69", "arts_22313" ], "tags": [ "arts_8505", "arts_2284", "arts_831", "arts_1143", "arts_974", "arts_9186", "arts_585", "arts_19347" ], "featImg": "arts_13970343", "label": "arts_140" }, "arts_13968340": { "type": "posts", "id": "arts_13968340", "meta": { "index": "posts_1716263798", "site": "arts", "id": "13968340", "score": null, "sort": [ 1732044346000 ] }, "guestAuthors": [], "slug": "saafir-dead-oakland-rapper-dies-at-54", "title": "Saafir, Inventive and Dextrous Oakland Rapper, Dies at 54", "publishDate": 1732044346, "format": "standard", "headTitle": "Saafir, Inventive and Dextrous Oakland Rapper, Dies at 54 | KQED", "labelTerm": { "site": "arts" }, "content": "\u003cp>Saafir, the raspy-voiced Oakland rapper who infused the rhythms of avant-garde jazz into his rhymes, died on Tuesday morning, according to family. He was 54.\u003c/p>\n\u003cp>A joint \u003ca href=\"https://www.instagram.com/p/DCj_iNlS5aE/\">Instagram post\u003c/a> by the rapper Xzibit and Saafir’s son explained that the rapper born Reggie Gibson died at 8:45 a.m., surrounded by friends and family.\u003c/p>\n\u003cp>“We surrounded him and let him know how much we loved him,” the post read. “He can rest now.”\u003c/p>\n\u003cp>No cause of death was announced. Saafir had long struggled with complications from a spinal surgery and other health problems.\u003c/p>\n\u003cfigure id=\"attachment_13968341\" class=\"wp-caption aligncenter\" style=\"max-width: 1122px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968341\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Saafir.jpg\" alt=\"\" width=\"1122\" height=\"1244\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Saafir.jpg 1122w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Saafir-800x887.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Saafir-1020x1131.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Saafir-160x177.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Saafir-768x852.jpg 768w\" sizes=\"(max-width: 1122px) 100vw, 1122px\">\u003cfigcaption class=\"wp-caption-text\">Saafir.\u003c/figcaption>\u003c/figure>\n\u003cp>With his early 1990s hip-hop group Hobo Junction, Saafir made a name for himself as a lyrically dextrous and inventive rapper with a distinct, guttural style. He is remembered by hip-hop fans nationwide, and especially in the Bay Area, for incandescently propelling a \u003ca href=\"https://www.kqed.org/arts/13924170/the-bay-area-rap-battle-heard-round-the-world\">legendary 1994 on-air freestyle battle\u003c/a> between his Hobo Junction crew and fellow East Bay collective Hieroglyphics that lasted more than 40 minutes.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Saafir spent his early teenage years in and out of group homes in Oakland, with at least one stint in jail. Inspired by early rappers like Too Short and LL Cool J, he began writing raps and developing a cadence that frequently avoided the downbeat.\u003c/p>\n\u003cp>While working with \u003ca href=\"https://www.kqed.org/arts/tag/digital-underground\">Digital Underground\u003c/a>, Saafir was onetime roommates with \u003ca href=\"https://www.kqed.org/arts/tag/tupac-shakur\">Tupac Shakur\u003c/a>, who introduced the West Oakland-bred young talent to Hollywood movie directors Albert and Allen Hughes. Saafir appeared in their 1993 film \u003cem>Menace II Society\u003c/em> as the character cousin Harold.\u003c/p>\n\u003cp>Before long, Saafir was offered a major record deal from music industry titan Quincy Jones. The resulting album, \u003cem>Boxcar Sessions\u003c/em>, bridged the dynamism of jazz innovators like Eric Dolphy and Andrew Hill with the streetwise sounds and themes of crack-era Oakland. To celebrate its release, Saafir performed a \u003ca href=\"https://www.youtube.com/watch?v=ww82T3UmSEU\">free show\u003c/a> in front of Leopold’s Records, just off Telegraph Avenue in Berkeley, where Hobo Junction first began selling underground tapes.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=lfQWH8QsNjA\u003c/p>\n\u003cp>Only a handful of albums followed. In 2013, on the blog of hip-hop historian Davey D, Shock G from Digital Underground explained Saafir’s absence from the scene in a \u003ca href=\"https://hiphopandpolitics.com/2013/02/12/shock-g-of-digital-underground-explains-why-saafir-is-bound-to-a-wheelchair/\">sprawling list of accidents, afflictions and obstacles\u003c/a> that went viral among diehard fans. Saafir later clarified parts of Shock G’s recollection in an interview with the \u003ca href=\"https://sfbgarchive.48hills.org/sfbgarchive/2013/03/27/reality-rap-qa-saafir-saucee-nomad/\">\u003cem>San Francisco Bay Guardian\u003c/em>\u003c/a>, where he detailed the challenges of navigating the healthcare system.\u003c/p>\n\u003cp>[aside postID='arts_13924170']Saafir, who used a wheelchair after his spinal surgery, made very few public appearances over the past 15 years. He often made an exception, however, for \u003ca href=\"https://www.kqed.org/arts/13863999/dream-day-2019-celebrating-mike-dream-franciscos-50th-birthday\">Dream Day\u003c/a> — an annual tribute to his late friend and graffiti artist \u003ca href=\"https://www.kqed.org/arts/10141391/dream-but-dont-sleep-remembering-mike-dream-francisco\">Mike “Dream” Francisco\u003c/a>. In 2014, he appeared onstage in San Francisco to perform his hit “Light Sleeper,” supported by the show’s headliner and his former battle nemesis from Hieroglyphics, Casual.\u003c/p>\n\u003cp>Though their famous freestyle battle hosted by Sway on KMEL’s \u003cem>The Wake Up Show\u003c/em> painted Saafir and Casual as enemies in the public imagination, the two retained their respect for each other.\u003c/p>\n\u003cp>In a short documentary, \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=QC7OtfYxDaQ\">The Battle\u003c/a>\u003c/em>, Saafir commended Casual: “You really brought out the best. You made me wanna be a monster, and I respect it.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Saafir is survived by a son — the rapper known as Lil Saafir — and a brother. No services have yet been announced.\u003c/p>\n\n", "blocks": [], "excerpt": "Saafir died on Tuesday morning, according to family — leaving a distinct, creative mark on Bay Area rap.", "status": "publish", "parent": 0, "modified": 1732128010, "stats": { "hasAudio": false, "hasVideo": true, "hasChartOrMap": false, "iframeSrcs": [], "hasGoogleForm": false, "hasGallery": false, "hasHearkenModule": false, "hasPolis": false, "paragraphCount": 15, "wordCount": 575 }, "headData": { "title": "Saafir, Inventive and Dextrous Oakland Rapper, Dies at 54 | KQED", "description": "Saafir died on Tuesday morning, according to family — leaving a distinct, creative mark on Bay Area rap.", "ogTitle": "", "ogDescription": "", "ogImgId": "", "twTitle": "", "twDescription": "", "twImgId": "", "schema": { "@context": "http://schema.org", "@type": "Article", "headline": "Saafir, Inventive and Dextrous Oakland Rapper, Dies at 54", "datePublished": "2024-11-19T11:25:46-08:00", "dateModified": "2024-11-20T10:40:10-08:00", "image": "https://cdn.kqed.org/wp-content/uploads/2020/02/[email protected]" } }, "sticky": false, "WpOldSlug": "saafir-inventive-and-dextrous-oakland-rapper-dies-at-54", "nprStoryId": "kqed-13968340", "templateType": "standard", "featuredImageType": "standard", "excludeFromSiteSearch": "Include", "articleAge": "0", "path": "/arts/13968340/saafir-dead-oakland-rapper-dies-at-54", "audioTrackLength": null, "parsedContent": [ { "type": "contentString", "content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Saafir, the raspy-voiced Oakland rapper who infused the rhythms of avant-garde jazz into his rhymes, died on Tuesday morning, according to family. He was 54.\u003c/p>\n\u003cp>A joint \u003ca href=\"https://www.instagram.com/p/DCj_iNlS5aE/\">Instagram post\u003c/a> by the rapper Xzibit and Saafir’s son explained that the rapper born Reggie Gibson died at 8:45 a.m., surrounded by friends and family.\u003c/p>\n\u003cp>“We surrounded him and let him know how much we loved him,” the post read. “He can rest now.”\u003c/p>\n\u003cp>No cause of death was announced. Saafir had long struggled with complications from a spinal surgery and other health problems.\u003c/p>\n\u003cfigure id=\"attachment_13968341\" class=\"wp-caption aligncenter\" style=\"max-width: 1122px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968341\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Saafir.jpg\" alt=\"\" width=\"1122\" height=\"1244\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Saafir.jpg 1122w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Saafir-800x887.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Saafir-1020x1131.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Saafir-160x177.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Saafir-768x852.jpg 768w\" sizes=\"(max-width: 1122px) 100vw, 1122px\">\u003cfigcaption class=\"wp-caption-text\">Saafir.\u003c/figcaption>\u003c/figure>\n\u003cp>With his early 1990s hip-hop group Hobo Junction, Saafir made a name for himself as a lyrically dextrous and inventive rapper with a distinct, guttural style. He is remembered by hip-hop fans nationwide, and especially in the Bay Area, for incandescently propelling a \u003ca href=\"https://www.kqed.org/arts/13924170/the-bay-area-rap-battle-heard-round-the-world\">legendary 1994 on-air freestyle battle\u003c/a> between his Hobo Junction crew and fellow East Bay collective Hieroglyphics that lasted more than 40 minutes.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>", "attributes": { "named": {}, "numeric": [] } }, { "type": "component", "content": "", "name": "ad", "attributes": { "named": { "label": "fullwidth" }, "numeric": [ "fullwidth" ] } }, { "type": "contentString", "content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Saafir spent his early teenage years in and out of group homes in Oakland, with at least one stint in jail. Inspired by early rappers like Too Short and LL Cool J, he began writing raps and developing a cadence that frequently avoided the downbeat.\u003c/p>\n\u003cp>While working with \u003ca href=\"https://www.kqed.org/arts/tag/digital-underground\">Digital Underground\u003c/a>, Saafir was onetime roommates with \u003ca href=\"https://www.kqed.org/arts/tag/tupac-shakur\">Tupac Shakur\u003c/a>, who introduced the West Oakland-bred young talent to Hollywood movie directors Albert and Allen Hughes. Saafir appeared in their 1993 film \u003cem>Menace II Society\u003c/em> as the character cousin Harold.\u003c/p>\n\u003cp>Before long, Saafir was offered a major record deal from music industry titan Quincy Jones. The resulting album, \u003cem>Boxcar Sessions\u003c/em>, bridged the dynamism of jazz innovators like Eric Dolphy and Andrew Hill with the streetwise sounds and themes of crack-era Oakland. To celebrate its release, Saafir performed a \u003ca href=\"https://www.youtube.com/watch?v=ww82T3UmSEU\">free show\u003c/a> in front of Leopold’s Records, just off Telegraph Avenue in Berkeley, where Hobo Junction first began selling underground tapes.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/lfQWH8QsNjA'\n title='//www.youtube.com/embed/lfQWH8QsNjA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Only a handful of albums followed. In 2013, on the blog of hip-hop historian Davey D, Shock G from Digital Underground explained Saafir’s absence from the scene in a \u003ca href=\"https://hiphopandpolitics.com/2013/02/12/shock-g-of-digital-underground-explains-why-saafir-is-bound-to-a-wheelchair/\">sprawling list of accidents, afflictions and obstacles\u003c/a> that went viral among diehard fans. Saafir later clarified parts of Shock G’s recollection in an interview with the \u003ca href=\"https://sfbgarchive.48hills.org/sfbgarchive/2013/03/27/reality-rap-qa-saafir-saucee-nomad/\">\u003cem>San Francisco Bay Guardian\u003c/em>\u003c/a>, where he detailed the challenges of navigating the healthcare system.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>", "attributes": { "named": {}, "numeric": [] } }, { "type": "component", "content": "", "name": "aside", "attributes": { "named": { "postid": "arts_13924170", "label": "" }, "numeric": [] } }, { "type": "contentString", "content": "\u003cdiv class=\"post-body\">\u003cp>Saafir, who used a wheelchair after his spinal surgery, made very few public appearances over the past 15 years. He often made an exception, however, for \u003ca href=\"https://www.kqed.org/arts/13863999/dream-day-2019-celebrating-mike-dream-franciscos-50th-birthday\">Dream Day\u003c/a> — an annual tribute to his late friend and graffiti artist \u003ca href=\"https://www.kqed.org/arts/10141391/dream-but-dont-sleep-remembering-mike-dream-francisco\">Mike “Dream” Francisco\u003c/a>. In 2014, he appeared onstage in San Francisco to perform his hit “Light Sleeper,” supported by the show’s headliner and his former battle nemesis from Hieroglyphics, Casual.\u003c/p>\n\u003cp>Though their famous freestyle battle hosted by Sway on KMEL’s \u003cem>The Wake Up Show\u003c/em> painted Saafir and Casual as enemies in the public imagination, the two retained their respect for each other.\u003c/p>\n\u003cp>In a short documentary, \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=QC7OtfYxDaQ\">The Battle\u003c/a>\u003c/em>, Saafir commended Casual: “You really brought out the best. You made me wanna be a monster, and I respect it.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Saafir is survived by a son — the rapper known as Lil Saafir — and a brother. No services have yet been announced.\u003c/p>\n\n\u003c/div>\u003c/p>", "attributes": { "named": {}, "numeric": [] } } ], "link": "/arts/13968340/saafir-dead-oakland-rapper-dies-at-54", "authors": [ "185" ], "categories": [ "arts_1", "arts_69", "arts_235", "arts_1564" ], "tags": [ "arts_10278", "arts_2284", "arts_831", "arts_1143", "arts_22370", "arts_19347" ], "featImg": "arts_13968344", "label": "arts" }, "arts_13967973": { "type": "posts", "id": "arts_13967973", "meta": { "index": "posts_1716263798", "site": "arts", "id": "13967973", "score": null, "sort": [ 1731616116000 ] }, "guestAuthors": [], "slug": "richie-rich-oakland-rap-larussell-second-act", "title": "‘Never Underestimate the OG’: Richie Rich's Second Act", "publishDate": 1731616116, "format": "standard", "headTitle": "‘Never Underestimate the OG’: Richie Rich’s Second Act | KQED", "labelTerm": { "site": "arts" }, "content": "\u003cp>[dropcap]O[/dropcap]n a Sunday afternoon in mid-November, \u003ca href=\"https://www.instagram.com/larussell/?hl=en\" target=\"_blank\" rel=\"noopener\">LaRussell\u003c/a> is onstage at The New Parish in Oakland, energetically hurling rhyme pyrotechnics, just days after the premiere of \u003ca href=\"https://www.youtube.com/watch?v=w40XbPyotj8\" target=\"_blank\" rel=\"noopener\">his NPR \u003cem>Tiny Desk\u003c/em> concert\u003c/a>.\u003c/p>\n\u003cp>Known for his clever lyrics, charismatic personality and nonstop production, LaRussell has \u003ca href=\"https://www.kqed.org/arts/13937331/larussell-vallejo-def-jam-record-deal\">refused to sign with a major label\u003c/a>. He hosts sold-out shows at a small venue, The Pergola, built in his backyard. Staunchly independent, he’s paved his own lane in the rap game by investing in himself, his community and his culture.\u003c/p>\n\u003cp>His latest investment: the reintroduction of \u003ca href=\"https://www.instagram.com/tharealrichierich/\" target=\"_blank\" rel=\"noopener\">Richie Rich\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13968024\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968024\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/LaRussell-x-Richie-Rich-New-Parish-Richie-Rich-111024-66-scaled.jpeg\" alt='While on stage with rising Vallejo rap star LaRussell at the New Parish in Oakland, veteran rapper Richie Rich tells the crowd that \"Double R\" now stands for LaRussell and Rich.' width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/LaRussell-x-Richie-Rich-New-Parish-Richie-Rich-111024-66-scaled.jpeg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/LaRussell-x-Richie-Rich-New-Parish-Richie-Rich-111024-66-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/LaRussell-x-Richie-Rich-New-Parish-Richie-Rich-111024-66-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/LaRussell-x-Richie-Rich-New-Parish-Richie-Rich-111024-66-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/LaRussell-x-Richie-Rich-New-Parish-Richie-Rich-111024-66-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/LaRussell-x-Richie-Rich-New-Parish-Richie-Rich-111024-66-1536x1024.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/LaRussell-x-Richie-Rich-New-Parish-Richie-Rich-111024-66-2048x1365.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/LaRussell-x-Richie-Rich-New-Parish-Richie-Rich-111024-66-1920x1280.jpeg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">At the New Parish in Oakland on Nov. 10, 2024, veteran rapper Richie Rich tells the crowd that “Double R” now stands for LaRussell and Rich. \u003ccite>(Jason Hayes / \u003ca href=\"https://www.instagram.com/j.castae/?hl=en\" target=\"_blank\">J.Castae\u003c/a>)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Minutes into Sunday’s show, after LaRussell warms up the crowd with violinist \u003ca href=\"https://www.instagram.com/michaelprinceviolin/?hl=en\" target=\"_blank\" rel=\"noopener\">Michael Prince\u003c/a> and vocalist \u003ca href=\"https://www.instagram.com/shante_music/\" target=\"_blank\" rel=\"noopener\">Shanté\u003c/a>, Rich walks out on stage.\u003c/p>\n\u003cp>Richie Rich’s pedigree is \u003cem>deep\u003c/em>. He’s a former Def Jam signee who influenced Snoop Dogg and was friends with Tupac. He had songs on \u003ca href=\"https://www.youtube.com/watch?v=YC_RQEby1JQ\" target=\"_blank\" rel=\"noopener\">\u003cem>The Nutty Professor\u003c/em>\u003c/a> and \u003ca href=\"https://open.spotify.com/track/3EcVo3nMBveyqGi7MzTZdM\" target=\"_blank\" rel=\"noopener\">\u003cem>How To Be A Player\u003c/em>\u003c/a> soundtracks. His 1996 album \u003cem>Seasoned Veteran\u003c/em> spawned two singles on the Billboard Top 100. And his verse on \u003ca href=\"http://www.kqed.org/bayareahiphop/timeline#i-got-5-on-it-remix-a-meeting-of-greats-recorded-in-alameda\">the remix to the Luniz’ anthem “I Got 5 On It”\u003c/a> provided the Town with the classic line: “Where you from? Oakland. Smokin’.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Fittingly, at the New Parish, the artist who founded the pioneering rap group 415 enters to the beat of one of his group’s best-known songs, 1990’s “\u003ca href=\"https://www.youtube.com/watch?v=UsOeXoZoYPo\" target=\"_blank\" rel=\"noopener\">Side Show\u003c/a>.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=SQGqYHg-uyI\u003c/p>\n\u003cp>Over a stripped-down instrumental on live keyboard, Rich raps bar-for-bar in his raspy, laid-back flow, crisp and clear, without any background vocals. When the chorus hits, LaRussell steps in and remixes it, pulling from \u003ca href=\"https://www.youtube.com/watch?v=h4d7UwaNrIQ\" target=\"_blank\" rel=\"noopener\">the 2006 remake, “The Sideshow,”\u003c/a> by the late Traxamillion, Too Short and Mistah FAB.\u003c/p>\n\u003cp>It becomes clear: this isn’t just a guest appearance of Richie Rich at a LaRussell show. No, this is two emcees, with an age gap of over 20 years, trading bars, innovating on stage and moving the crowd.\u003c/p>\n\u003cp>As the audience recites the lyrics, the energy builds. LaRussell and \u003ca href=\"https://www.instagram.com/splashthakidd/\" target=\"_blank\" rel=\"noopener\">Splash Tha Kidd\u003c/a> are on stage giggin’, jumping as they dance. After the second verse, the crowd is turned up.\u003c/p>\n\u003cp>Richie Rich, grounded, laughs and calmly says, “Na… that’s how you got me last time.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=s3TM5WSCvZs\u003c/p>\n\u003cp>[dropcap]F[/dropcap]our months prior in LaRussell’s backyard, onstage at the Pergola, the energy got the best of Rich.\u003c/p>\n\u003cp>During a performance of the song “What We Doin!?” which features Richie Rich alongside LaRussell and \u003ca href=\"https://www.instagram.com/mal4chii/\" target=\"_blank\" rel=\"noopener\">an 18 year-old MC named MALACHI,\u003c/a> Rich was in go mode. The P-Lo–produced track, full of high energy, is the type of song that makes one jump on stage — even if they know damn well they shouldn’t.\u003c/p>\n\u003cp>Under the scorching August sun, Rich was a few bars into his verse when the 56-year-old rapper, bouncing alongside the crowd, turned to his left. Suddenly, his knee popped. Falling to the ground, he kept rapping without missing a beat, freestyling new lyrics to communicate what’d just happened to his leg — “blew my knee actin’ out my age” — and even diagnosing it as a torn lower patella.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=YGqKGhZkuug\u003c/p>\n\u003cp>All of this could’ve easily become a huge setback. Instead, in a world where the elements of hip-hop have expanded to include viral moments and social media influence, the widely viewed footage of Richie Rich kicking culture while sustaining a painful injury only helped reestablish his footprint in the rap game.\u003c/p>\n\u003cp>I recently caught up with Rich for a long conversation at his home in the East Bay, his leg in a brace as he sat across from me. Rich is a mild-mannered person who was raised by well-to-do parents, but despite his upbringing — and lifelong issues with his knees — he ran the streets.\u003c/p>\n\u003cfigure id=\"attachment_13968025\" class=\"wp-caption aligncenter\" style=\"max-width: 1180px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968025\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6004-e1731530175543.jpg\" alt=\"With a scar on one knee and the other in a brace, you can tell that Richie Rich has had some conversations with his knees-- and they've done most of the talking.\" width=\"1180\" height=\"1554\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6004-e1731530175543.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6004-e1731530175543-800x1054.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6004-e1731530175543-1020x1343.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6004-e1731530175543-160x211.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6004-e1731530175543-768x1011.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6004-e1731530175543-1166x1536.jpg 1166w\" sizes=\"(max-width: 1180px) 100vw, 1180px\">\u003cfigcaption class=\"wp-caption-text\">With a scar on one knee and the other in a brace, it’s clear Richie Rich has had some conversations with his knees — and they’ve done most of the talking. \u003ccite>(Courtesy of Richie Rich)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I’m from up the hill, I’m not even from the flats,” says Rich, explaining his childhood and the topography of Deep East Oakland in one statement. “I went down the hill, and that shit changed me, bro,” he says.\u003c/p>\n\u003cp>“Them spokes that you see on that car out here?” Rich says, pointing to the gold rims of his cognac-colored 1972 Cutlass Oldsmobile. He first saw them, he explains, on a Falcon when he was 12. Little Rich ran to tell the driver how clean they were, but the light turned green and the driver pulled off. A few weeks later, Rich caught the driver at a red light and properly complemented him. The driver thanked him, and suggested he could one day have a car like that, too, before tapping the gas pedal and leaving tire treads in the intersection.\u003c/p>\n\u003cp>“If I live to be 90,” says Rich, fully committed to his cars, “I’ma have some gold ones and Vogues, you better know.”\u003c/p>\n\u003cfigure id=\"attachment_13968026\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968026\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6682-scaled.jpg\" alt=\"Rapper Richie Rich poses in a Raiders Bo Jackson jersey, while standing in front of his Cutlass Oldsmobile.\" width=\"2560\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6682-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6682-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6682-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6682-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6682-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6682-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6682-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6682-1920x1440.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">In a Raiders Bo Jackson jersey, Richie Rich poses with his 1972 Oldsmobile Cutlass Supreme. \u003ccite>(Courtesy of Richie Rich)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Rich’s street life and hillside upbringing brought about different perspectives. He had run-ins with the law, though he often evaded them. But the culture had a grip on him.\u003c/p>\n\u003cp>“I was two people,” says Rich, from behind dark sunglasses. “I was Richie Rich and I was Double R.”\u003c/p>\n\u003cp>He elaborates: “Double R was the dude who went down the hill, Richie Rich was the dude who lived up the hill. So Richie Rich wrote ‘Do G’s Get to Go to Heaven,’” he says. “Double R wrote ‘Side Show’ and ‘Snitches and Bitches.'”\u003c/p>\n\u003cp>There’s always been a tug-of-war between these two sides, he says. Fortunately his dad gave him constant reassurance, and his mom gave him spiritual guidance, even if it came in the form of heavy-handed discipline.\u003c/p>\n\u003cp>“My mom was so strict,” Rich reflects, “that when I got caught stealing at Longs Drugs and they told me they was going to call my mom, I said, ‘Na, call the police. Don’t call my momma!'”\u003c/p>\n\u003cp>Once his mother found the Lord, “she brought that spirituality to us and locked us in with it,” says Rich. A sweet woman who was very hard to impress, Rich says he’d get good grades and his mother would remark, “Want to impress me? Show me that you can fly.”\u003c/p>\n\u003cp>When Rich signed with Def Jam, the label sent a car to take him to the airport. Misty-eyed, he reflects on his mother’s reaction. “She knocked on my door, and said, ‘There’s a limousine out front, Richie.’” Fanning out, she asked, “Can I go outside and see?”\u003c/p>\n\u003cp>Rich recalls her floating out the door in her trademark blue robe, sitting in the stretch limo, finally understanding that her son had made something of himself.\u003c/p>\n\u003cfigure id=\"attachment_13968116\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968116\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1293520518.jpg\" alt=\"\" width=\"2000\" height=\"1353\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1293520518.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1293520518-800x541.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1293520518-1020x690.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1293520518-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1293520518-768x520.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1293520518-1536x1039.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1293520518-1920x1299.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Richie Rich pictured in New York City on Aug. 10, 1996, the day he signed with Def Jam Records. \u003ccite>(Al Pereira/Getty Images/Michael Ochs Archives)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[dropcap]R[/dropcap]ich had a conversation with his knees when he was a kid. They told him, “We’re gonna hold you down if the red and blue lights get behind you, or the dogs get to chasing you. Outside of that, don’t be attending those softball games and don’t play no three-on-threes,” he recalls.\u003c/p>\n\u003cp>Years later, Rich still has trouble walking in his own legacy. Almost 35 years since his 1990 debut solo album, \u003cem>Don’t Do It\u003c/em>, he’s on the verge of dropping a new project titled \u003cem>Richard\u003c/em>.\u003c/p>\n\u003cp>The album, set to release on the platform \u003ca href=\"https://get.even.biz/\" target=\"_blank\" rel=\"noopener\">Even\u003c/a> next month and then to all streaming services in January, features \u003ca href=\"https://www.instagram.com/larryjunetfm/?hl=en\" target=\"_blank\" rel=\"noopener\">Larry June\u003c/a>, \u003ca href=\"https://www.instagram.com/youngjr/?hl=en\" target=\"_blank\" rel=\"noopener\">Young JR\u003c/a>, \u003ca href=\"https://www.instagram.com/msjanehandcock/?hl=en\" target=\"_blank\" rel=\"noopener\">Jane Handcock\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/tag/e-40\">E-40\u003c/a> and \u003ca href=\"https://www.instagram.com/thedelinquents86/?hl=en\">V. White of The Delinquents\u003c/a>. There’s a track where Rich pays homage to the slick players who came before him, as well as one with open critiques of current Oakland culture.\u003c/p>\n\u003cfigure id=\"attachment_13968027\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968027\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6378-scaled.jpg\" alt='\"Top of the Rolex, top of the Rolex,\" Richie says as he addresses people during his regular social media video check-ins.' width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6378-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6378-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6378-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6378-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6378-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6378-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6378-1536x2048.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">‘Top of the Rolex, top of the Rolex,’ Richie says as he addresses people during regular social media video check-ins. \u003ccite>(Richie Rich)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Rich has been open about his issues with the place that raised him. In January of this year the rapper made headlines for \u003ca href=\"https://www.tmz.com/watch/2024-01-19-011924-richie-rich-1761556-305/\" target=\"_blank\" rel=\"noopener\">a rant he posted on social media\u003c/a>, proclaiming that he was leaving California. “The cost of living here is going up, but the chances of living is going down,” he says in the video.\u003c/p>\n\u003cp>Today, he explains that Oakland losing its pro sports teams and his favorite restaurants hurts. He adds that it’s very clear that the chasm between classes is growing, and when the haves and have-nots are at odds it makes it hard to own nice things without becoming a target. (And being a known rapper from that place adds another layer.)\u003c/p>\n\u003cp>He stands by many of the things he said in the post, but given time to reflect, he says it’s more about where he’s at this point in life than the Golden State. “I think it’s the invisibility that I’m chasing, not so much a disdain for California,” he says.\u003c/p>\n\u003cp>Rich’s California love is motivated by his ties to the people, from family members to world renowned artists.\u003c/p>\n\u003cfigure id=\"attachment_13968115\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968115\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/screenshot_2024-11-13_at_12.52.25___pm.jpg\" alt=\"\" width=\"2000\" height=\"1499\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/screenshot_2024-11-13_at_12.52.25___pm.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/screenshot_2024-11-13_at_12.52.25___pm-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/screenshot_2024-11-13_at_12.52.25___pm-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/screenshot_2024-11-13_at_12.52.25___pm-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/screenshot_2024-11-13_at_12.52.25___pm-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/screenshot_2024-11-13_at_12.52.25___pm-1536x1151.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/screenshot_2024-11-13_at_12.52.25___pm-1920x1439.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Richie Rich’s motorcycle, Makaveli, bears a portrait tribute to his late friend, Tupac Shakur. \u003ccite>(Courtesy of Richie Rich )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He says he’s appreciative that his friend, the late Tupac Shakur, has \u003ca href=\"https://www.kqed.org/arts/13929233/tupac-shakur-street-oakland-tupac-shakur-way\" target=\"_blank\" rel=\"noopener\">a street named in his honor\u003c/a> and that there’s been \u003ca href=\"https://www.npr.org/2023/09/29/1202754616/suspect-in-tupac-shakur-murder-arrested\" target=\"_blank\" rel=\"noopener\">an arrest in connection to his murder\u003c/a>. But Rich would prefer to see Pac alive now, enjoying all he accomplished.\u003c/p>\n\u003cp>Rich and Pac met around ’91 through a common friend, and became homies; not making music, just hanging out. As Rich’s career was in full swing and Shakur’s was just getting off the ground, Pac asked to be on a track with Rich. “Na, we’re doing gangsta music,” the rapper from the Rolling Hundreds told the young MC from Marin. “You on that Black Power shit.”\u003c/p>\n\u003cp>[aside postID='arts_13927810']The two stayed in contact, though, and Rich watched Tupac’s career explode. When Pac was incarcerated, they exchanged letters; mail that Rich wishes he would’ve kept. With a custom Harley motorcycle parked behind him, painted with Tupac’s face on it, Rich says, “When it’s your homeboy, you not planning on him dying and being one of the most famous people in the world.”\u003c/p>\n\u003cp>Before his death, Rich saw visible changes in Tupac. “He was moving too fast,” says Rich, who urged him to lead a more private life. But that didn’t happen. Rich had to accept that “my little homie became my big homie,” as he says. So Rich did his best to look out for him in life, and continues to represent for him after his death.\u003c/p>\n\u003cp>In addition to the customized motorcycle — named Makaveli — Rich has photos, a framed plaque of albums commemorating the songs they recorded together, and a set of coat hangers in the form of middle fingers. (Tupac loved flipping people off.) Rich also has a handwritten contract ensuring songwriting royalties for his contribution to the song “Heavy in the Game,” framed and mounted on the wall in his house — signed by Tupac and his late mother, Afeni Shakur, just months before Tupac’s death.\u003c/p>\n\u003cfigure id=\"attachment_13968028\" class=\"wp-caption aligncenter\" style=\"max-width: 1800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968028\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7651-scaled-e1731531563979.jpg\" alt=\"A handwritten contract by Tupac Shakur, ensuring Richie Rich gets royalties for their work together; written just months before Tupac's death.\" width=\"1800\" height=\"1510\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7651-scaled-e1731531563979.jpg 1800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7651-scaled-e1731531563979-800x671.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7651-scaled-e1731531563979-1020x856.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7651-scaled-e1731531563979-160x134.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7651-scaled-e1731531563979-768x644.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7651-scaled-e1731531563979-1536x1289.jpg 1536w\" sizes=\"(max-width: 1800px) 100vw, 1800px\">\u003cfigcaption class=\"wp-caption-text\">A handwritten contract by Tupac Shakur, ensuring that Richie Rich received royalties for their work together, written just months before Tupac’s death. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[dropcap]A[/dropcap]ll of the art in Rich’s house is properly positioned. His crib is well-kept and organized. His cars are pristine and his head is shaved clean. It’s all a reflection of who he is, and an extension of the discipline his mother instilled in him.\u003c/p>\n\u003cp>But there are still times when everything isn’t all put together. Instances when the unpredictable happens, like when he hits the stage and literally breaks a leg. That’s when the cool, calm, collected Rich takes a backseat, and Double R comes out.\u003c/p>\n\u003cp>“I know what happened that day,” says Rich, reflecting on the day he fell at the Pergola. He suspects that someone else showed up inside of him — someone he’s known for a while.\u003c/p>\n\u003cp>“He always shows up when I’m in distress,” says Rich. The persona never stays there long enough to introduce himself, but Rich brags, “He’s raw. He knows how to rap, how to ride motorcycles, he knows how to drive cars. Yeah, he’s good at a lot of things.”\u003c/p>\n\u003cfigure id=\"attachment_13968029\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968029\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/LaRussell-x-Richie-Rich-New-Parish-Richie-Rich-111024-74-scaled.jpeg\" alt=\"LaRussell, excited to see Richie Rich perform again, says this show was extra-special for his mother and father who were in the audience at The New Parish during the show.\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/LaRussell-x-Richie-Rich-New-Parish-Richie-Rich-111024-74-scaled.jpeg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/LaRussell-x-Richie-Rich-New-Parish-Richie-Rich-111024-74-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/LaRussell-x-Richie-Rich-New-Parish-Richie-Rich-111024-74-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/LaRussell-x-Richie-Rich-New-Parish-Richie-Rich-111024-74-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/LaRussell-x-Richie-Rich-New-Parish-Richie-Rich-111024-74-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/LaRussell-x-Richie-Rich-New-Parish-Richie-Rich-111024-74-1536x1024.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/LaRussell-x-Richie-Rich-New-Parish-Richie-Rich-111024-74-2048x1365.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/LaRussell-x-Richie-Rich-New-Parish-Richie-Rich-111024-74-1920x1280.jpeg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">LaRussell, excited to see Richie Rich perform again, says the New Parish show was extra-special for his mother and father, who were in the audience. \u003ccite>(Jason Hayes / \u003ca href=\"https://www.instagram.com/j.castae/?hl=en\" target=\"_blank\">J.Castae\u003c/a>)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The song that started all of this, “What We Doin!?,” was released in June 2024 — with some subtly prophetic lines. On the first verse, recorded weeks before Rich injured his leg while performing the song, LaRussell says “Broke a leg, re-learned how to stand.” In the third verse, Rich advises: “If you know me, never underestimate the OG.” Doctors told him it would take eight months to heal. Four months later he was back on stage.\u003c/p>\n\u003cp>At The New Parish on that Sunday afternoon in Oakland, Rich was sharp throughout the hour-long performance. A few weeks before the show, LaRussell had pulled some of his favorite Richie Rich tracks and asked if he could add them to the setlist. And though they didn’t rehearse beforehand, the two didn’t miss a beat, going through hit after hit, like Rich’s 2000 track “Playboy” and LaRussell’s 2021 song “GT Coupe.” They reimagined songs in never-before-heard iterations, spanning generations.\u003c/p>\n\u003cp>The following day, Rich tells me his leg is doing fine. Talking just after getting off the phone with LaRussell, he adds that the younger rapper discussed future collaborations and offered continued encouragement to the rapper who, nearly 30 years after his Def Jam debut, has more than earned the title \u003cem>Seasoned Veteran\u003c/em>.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“I didn’t know you was a dog like that, Double,” LaRussell told him. “A unc, you still got it.”\u003c/p>\n\n", "blocks": [], "excerpt": "After an onstage fall, the 56-year-old Oakland rap legend is proving he's still got plenty of gas in the tank.", "status": "publish", "parent": 0, "modified": 1731623652, "stats": { "hasAudio": false, "hasVideo": true, "hasChartOrMap": false, "iframeSrcs": [], "hasGoogleForm": false, "hasGallery": false, "hasHearkenModule": false, "hasPolis": false, "paragraphCount": 48, "wordCount": 2597 }, "headData": { "title": "How Oakland's Richie Rich Got Back in the Rap Game | KQED", "description": "After an onstage fall, the 56-year-old legend is proving he's still got plenty of gas left in the tank.", "ogTitle": "How Oakland's Richie Rich Got Back in the Rap Game", "ogDescription": "After an onstage fall, the 56-year-old Oakland rap legend is proving he's still got plenty of gas in the tank.", "ogImgId": "", "twTitle": "‘Never Underestimate the OG’: Richie Rich's Second Act", "twDescription": "After an onstage fall, the 56-year-old Oakland rap legend is proving he's still got plenty of gas in the tank.", "twImgId": "", "socialTitle": "How Oakland's Richie Rich Got Back in the Rap Game %%page%% %%sep%% KQED", "socialDescription": "After an onstage fall, the 56-year-old legend is proving he's still got plenty of gas left in the tank.", "schema": { "@context": "http://schema.org", "@type": "Article", "headline": "‘Never Underestimate the OG’: Richie Rich's Second Act", "datePublished": "2024-11-14T12:28:36-08:00", "dateModified": "2024-11-14T14:34:12-08:00", "image": "https://cdn.kqed.org/wp-content/uploads/2020/02/[email protected]" } }, "sticky": false, "nprStoryId": "kqed-13967973", "templateType": "standard", "featuredImageType": "standard", "excludeFromSiteSearch": "Include", "articleAge": "0", "path": "/arts/13967973/richie-rich-oakland-rap-larussell-second-act", "audioTrackLength": null, "parsedContent": [ { "type": "contentString", "content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">O\u003c/span>\u003c/p>\u003cp>n a Sunday afternoon in mid-November, \u003ca href=\"https://www.instagram.com/larussell/?hl=en\" target=\"_blank\" rel=\"noopener\">LaRussell\u003c/a> is onstage at The New Parish in Oakland, energetically hurling rhyme pyrotechnics, just days after the premiere of \u003ca href=\"https://www.youtube.com/watch?v=w40XbPyotj8\" target=\"_blank\" rel=\"noopener\">his NPR \u003cem>Tiny Desk\u003c/em> concert\u003c/a>.\u003c/p>\n\u003cp>Known for his clever lyrics, charismatic personality and nonstop production, LaRussell has \u003ca href=\"https://www.kqed.org/arts/13937331/larussell-vallejo-def-jam-record-deal\">refused to sign with a major label\u003c/a>. He hosts sold-out shows at a small venue, The Pergola, built in his backyard. Staunchly independent, he’s paved his own lane in the rap game by investing in himself, his community and his culture.\u003c/p>\n\u003cp>His latest investment: the reintroduction of \u003ca href=\"https://www.instagram.com/tharealrichierich/\" target=\"_blank\" rel=\"noopener\">Richie Rich\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13968024\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968024\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/LaRussell-x-Richie-Rich-New-Parish-Richie-Rich-111024-66-scaled.jpeg\" alt='While on stage with rising Vallejo rap star LaRussell at the New Parish in Oakland, veteran rapper Richie Rich tells the crowd that \"Double R\" now stands for LaRussell and Rich.' width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/LaRussell-x-Richie-Rich-New-Parish-Richie-Rich-111024-66-scaled.jpeg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/LaRussell-x-Richie-Rich-New-Parish-Richie-Rich-111024-66-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/LaRussell-x-Richie-Rich-New-Parish-Richie-Rich-111024-66-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/LaRussell-x-Richie-Rich-New-Parish-Richie-Rich-111024-66-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/LaRussell-x-Richie-Rich-New-Parish-Richie-Rich-111024-66-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/LaRussell-x-Richie-Rich-New-Parish-Richie-Rich-111024-66-1536x1024.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/LaRussell-x-Richie-Rich-New-Parish-Richie-Rich-111024-66-2048x1365.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/LaRussell-x-Richie-Rich-New-Parish-Richie-Rich-111024-66-1920x1280.jpeg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">At the New Parish in Oakland on Nov. 10, 2024, veteran rapper Richie Rich tells the crowd that “Double R” now stands for LaRussell and Rich. \u003ccite>(Jason Hayes / \u003ca href=\"https://www.instagram.com/j.castae/?hl=en\" target=\"_blank\">J.Castae\u003c/a>)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Minutes into Sunday’s show, after LaRussell warms up the crowd with violinist \u003ca href=\"https://www.instagram.com/michaelprinceviolin/?hl=en\" target=\"_blank\" rel=\"noopener\">Michael Prince\u003c/a> and vocalist \u003ca href=\"https://www.instagram.com/shante_music/\" target=\"_blank\" rel=\"noopener\">Shanté\u003c/a>, Rich walks out on stage.\u003c/p>\n\u003cp>Richie Rich’s pedigree is \u003cem>deep\u003c/em>. He’s a former Def Jam signee who influenced Snoop Dogg and was friends with Tupac. He had songs on \u003ca href=\"https://www.youtube.com/watch?v=YC_RQEby1JQ\" target=\"_blank\" rel=\"noopener\">\u003cem>The Nutty Professor\u003c/em>\u003c/a> and \u003ca href=\"https://open.spotify.com/track/3EcVo3nMBveyqGi7MzTZdM\" target=\"_blank\" rel=\"noopener\">\u003cem>How To Be A Player\u003c/em>\u003c/a> soundtracks. His 1996 album \u003cem>Seasoned Veteran\u003c/em> spawned two singles on the Billboard Top 100. And his verse on \u003ca href=\"http://www.kqed.org/bayareahiphop/timeline#i-got-5-on-it-remix-a-meeting-of-greats-recorded-in-alameda\">the remix to the Luniz’ anthem “I Got 5 On It”\u003c/a> provided the Town with the classic line: “Where you from? Oakland. Smokin’.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>", "attributes": { "named": {}, "numeric": [] } }, { "type": "component", "content": "", "name": "ad", "attributes": { "named": { "label": "fullwidth" }, "numeric": [ "fullwidth" ] } }, { "type": "contentString", "content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Fittingly, at the New Parish, the artist who founded the pioneering rap group 415 enters to the beat of one of his group’s best-known songs, 1990’s “\u003ca href=\"https://www.youtube.com/watch?v=UsOeXoZoYPo\" target=\"_blank\" rel=\"noopener\">Side Show\u003c/a>.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/SQGqYHg-uyI'\n title='//www.youtube.com/embed/SQGqYHg-uyI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Over a stripped-down instrumental on live keyboard, Rich raps bar-for-bar in his raspy, laid-back flow, crisp and clear, without any background vocals. When the chorus hits, LaRussell steps in and remixes it, pulling from \u003ca href=\"https://www.youtube.com/watch?v=h4d7UwaNrIQ\" target=\"_blank\" rel=\"noopener\">the 2006 remake, “The Sideshow,”\u003c/a> by the late Traxamillion, Too Short and Mistah FAB.\u003c/p>\n\u003cp>It becomes clear: this isn’t just a guest appearance of Richie Rich at a LaRussell show. No, this is two emcees, with an age gap of over 20 years, trading bars, innovating on stage and moving the crowd.\u003c/p>\n\u003cp>As the audience recites the lyrics, the energy builds. LaRussell and \u003ca href=\"https://www.instagram.com/splashthakidd/\" target=\"_blank\" rel=\"noopener\">Splash Tha Kidd\u003c/a> are on stage giggin’, jumping as they dance. After the second verse, the crowd is turned up.\u003c/p>\n\u003cp>Richie Rich, grounded, laughs and calmly says, “Na… that’s how you got me last time.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/s3TM5WSCvZs'\n title='//www.youtube.com/embed/s3TM5WSCvZs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">F\u003c/span>\u003c/p>\u003cp>our months prior in LaRussell’s backyard, onstage at the Pergola, the energy got the best of Rich.\u003c/p>\n\u003cp>During a performance of the song “What We Doin!?” which features Richie Rich alongside LaRussell and \u003ca href=\"https://www.instagram.com/mal4chii/\" target=\"_blank\" rel=\"noopener\">an 18 year-old MC named MALACHI,\u003c/a> Rich was in go mode. The P-Lo–produced track, full of high energy, is the type of song that makes one jump on stage — even if they know damn well they shouldn’t.\u003c/p>\n\u003cp>Under the scorching August sun, Rich was a few bars into his verse when the 56-year-old rapper, bouncing alongside the crowd, turned to his left. Suddenly, his knee popped. Falling to the ground, he kept rapping without missing a beat, freestyling new lyrics to communicate what’d just happened to his leg — “blew my knee actin’ out my age” — and even diagnosing it as a torn lower patella.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/YGqKGhZkuug'\n title='//www.youtube.com/embed/YGqKGhZkuug'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>All of this could’ve easily become a huge setback. Instead, in a world where the elements of hip-hop have expanded to include viral moments and social media influence, the widely viewed footage of Richie Rich kicking culture while sustaining a painful injury only helped reestablish his footprint in the rap game.\u003c/p>\n\u003cp>I recently caught up with Rich for a long conversation at his home in the East Bay, his leg in a brace as he sat across from me. Rich is a mild-mannered person who was raised by well-to-do parents, but despite his upbringing — and lifelong issues with his knees — he ran the streets.\u003c/p>\n\u003cfigure id=\"attachment_13968025\" class=\"wp-caption aligncenter\" style=\"max-width: 1180px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968025\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6004-e1731530175543.jpg\" alt=\"With a scar on one knee and the other in a brace, you can tell that Richie Rich has had some conversations with his knees-- and they've done most of the talking.\" width=\"1180\" height=\"1554\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6004-e1731530175543.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6004-e1731530175543-800x1054.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6004-e1731530175543-1020x1343.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6004-e1731530175543-160x211.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6004-e1731530175543-768x1011.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6004-e1731530175543-1166x1536.jpg 1166w\" sizes=\"(max-width: 1180px) 100vw, 1180px\">\u003cfigcaption class=\"wp-caption-text\">With a scar on one knee and the other in a brace, it’s clear Richie Rich has had some conversations with his knees — and they’ve done most of the talking. \u003ccite>(Courtesy of Richie Rich)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I’m from up the hill, I’m not even from the flats,” says Rich, explaining his childhood and the topography of Deep East Oakland in one statement. “I went down the hill, and that shit changed me, bro,” he says.\u003c/p>\n\u003cp>“Them spokes that you see on that car out here?” Rich says, pointing to the gold rims of his cognac-colored 1972 Cutlass Oldsmobile. He first saw them, he explains, on a Falcon when he was 12. Little Rich ran to tell the driver how clean they were, but the light turned green and the driver pulled off. A few weeks later, Rich caught the driver at a red light and properly complemented him. The driver thanked him, and suggested he could one day have a car like that, too, before tapping the gas pedal and leaving tire treads in the intersection.\u003c/p>\n\u003cp>“If I live to be 90,” says Rich, fully committed to his cars, “I’ma have some gold ones and Vogues, you better know.”\u003c/p>\n\u003cfigure id=\"attachment_13968026\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968026\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6682-scaled.jpg\" alt=\"Rapper Richie Rich poses in a Raiders Bo Jackson jersey, while standing in front of his Cutlass Oldsmobile.\" width=\"2560\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6682-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6682-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6682-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6682-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6682-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6682-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6682-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6682-1920x1440.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">In a Raiders Bo Jackson jersey, Richie Rich poses with his 1972 Oldsmobile Cutlass Supreme. \u003ccite>(Courtesy of Richie Rich)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Rich’s street life and hillside upbringing brought about different perspectives. He had run-ins with the law, though he often evaded them. But the culture had a grip on him.\u003c/p>\n\u003cp>“I was two people,” says Rich, from behind dark sunglasses. “I was Richie Rich and I was Double R.”\u003c/p>\n\u003cp>He elaborates: “Double R was the dude who went down the hill, Richie Rich was the dude who lived up the hill. So Richie Rich wrote ‘Do G’s Get to Go to Heaven,’” he says. “Double R wrote ‘Side Show’ and ‘Snitches and Bitches.'”\u003c/p>\n\u003cp>There’s always been a tug-of-war between these two sides, he says. Fortunately his dad gave him constant reassurance, and his mom gave him spiritual guidance, even if it came in the form of heavy-handed discipline.\u003c/p>\n\u003cp>“My mom was so strict,” Rich reflects, “that when I got caught stealing at Longs Drugs and they told me they was going to call my mom, I said, ‘Na, call the police. Don’t call my momma!'”\u003c/p>\n\u003cp>Once his mother found the Lord, “she brought that spirituality to us and locked us in with it,” says Rich. A sweet woman who was very hard to impress, Rich says he’d get good grades and his mother would remark, “Want to impress me? Show me that you can fly.”\u003c/p>\n\u003cp>When Rich signed with Def Jam, the label sent a car to take him to the airport. Misty-eyed, he reflects on his mother’s reaction. “She knocked on my door, and said, ‘There’s a limousine out front, Richie.’” Fanning out, she asked, “Can I go outside and see?”\u003c/p>\n\u003cp>Rich recalls her floating out the door in her trademark blue robe, sitting in the stretch limo, finally understanding that her son had made something of himself.\u003c/p>\n\u003cfigure id=\"attachment_13968116\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968116\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1293520518.jpg\" alt=\"\" width=\"2000\" height=\"1353\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1293520518.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1293520518-800x541.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1293520518-1020x690.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1293520518-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1293520518-768x520.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1293520518-1536x1039.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1293520518-1920x1299.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Richie Rich pictured in New York City on Aug. 10, 1996, the day he signed with Def Jam Records. \u003ccite>(Al Pereira/Getty Images/Michael Ochs Archives)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">R\u003c/span>\u003c/p>\u003cp>ich had a conversation with his knees when he was a kid. They told him, “We’re gonna hold you down if the red and blue lights get behind you, or the dogs get to chasing you. Outside of that, don’t be attending those softball games and don’t play no three-on-threes,” he recalls.\u003c/p>\n\u003cp>Years later, Rich still has trouble walking in his own legacy. Almost 35 years since his 1990 debut solo album, \u003cem>Don’t Do It\u003c/em>, he’s on the verge of dropping a new project titled \u003cem>Richard\u003c/em>.\u003c/p>\n\u003cp>The album, set to release on the platform \u003ca href=\"https://get.even.biz/\" target=\"_blank\" rel=\"noopener\">Even\u003c/a> next month and then to all streaming services in January, features \u003ca href=\"https://www.instagram.com/larryjunetfm/?hl=en\" target=\"_blank\" rel=\"noopener\">Larry June\u003c/a>, \u003ca href=\"https://www.instagram.com/youngjr/?hl=en\" target=\"_blank\" rel=\"noopener\">Young JR\u003c/a>, \u003ca href=\"https://www.instagram.com/msjanehandcock/?hl=en\" target=\"_blank\" rel=\"noopener\">Jane Handcock\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/tag/e-40\">E-40\u003c/a> and \u003ca href=\"https://www.instagram.com/thedelinquents86/?hl=en\">V. White of The Delinquents\u003c/a>. There’s a track where Rich pays homage to the slick players who came before him, as well as one with open critiques of current Oakland culture.\u003c/p>\n\u003cfigure id=\"attachment_13968027\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968027\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6378-scaled.jpg\" alt='\"Top of the Rolex, top of the Rolex,\" Richie says as he addresses people during his regular social media video check-ins.' width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6378-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6378-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6378-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6378-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6378-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6378-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6378-1536x2048.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">‘Top of the Rolex, top of the Rolex,’ Richie says as he addresses people during regular social media video check-ins. \u003ccite>(Richie Rich)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Rich has been open about his issues with the place that raised him. In January of this year the rapper made headlines for \u003ca href=\"https://www.tmz.com/watch/2024-01-19-011924-richie-rich-1761556-305/\" target=\"_blank\" rel=\"noopener\">a rant he posted on social media\u003c/a>, proclaiming that he was leaving California. “The cost of living here is going up, but the chances of living is going down,” he says in the video.\u003c/p>\n\u003cp>Today, he explains that Oakland losing its pro sports teams and his favorite restaurants hurts. He adds that it’s very clear that the chasm between classes is growing, and when the haves and have-nots are at odds it makes it hard to own nice things without becoming a target. (And being a known rapper from that place adds another layer.)\u003c/p>\n\u003cp>He stands by many of the things he said in the post, but given time to reflect, he says it’s more about where he’s at this point in life than the Golden State. “I think it’s the invisibility that I’m chasing, not so much a disdain for California,” he says.\u003c/p>\n\u003cp>Rich’s California love is motivated by his ties to the people, from family members to world renowned artists.\u003c/p>\n\u003cfigure id=\"attachment_13968115\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968115\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/screenshot_2024-11-13_at_12.52.25___pm.jpg\" alt=\"\" width=\"2000\" height=\"1499\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/screenshot_2024-11-13_at_12.52.25___pm.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/screenshot_2024-11-13_at_12.52.25___pm-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/screenshot_2024-11-13_at_12.52.25___pm-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/screenshot_2024-11-13_at_12.52.25___pm-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/screenshot_2024-11-13_at_12.52.25___pm-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/screenshot_2024-11-13_at_12.52.25___pm-1536x1151.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/screenshot_2024-11-13_at_12.52.25___pm-1920x1439.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Richie Rich’s motorcycle, Makaveli, bears a portrait tribute to his late friend, Tupac Shakur. \u003ccite>(Courtesy of Richie Rich )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He says he’s appreciative that his friend, the late Tupac Shakur, has \u003ca href=\"https://www.kqed.org/arts/13929233/tupac-shakur-street-oakland-tupac-shakur-way\" target=\"_blank\" rel=\"noopener\">a street named in his honor\u003c/a> and that there’s been \u003ca href=\"https://www.npr.org/2023/09/29/1202754616/suspect-in-tupac-shakur-murder-arrested\" target=\"_blank\" rel=\"noopener\">an arrest in connection to his murder\u003c/a>. But Rich would prefer to see Pac alive now, enjoying all he accomplished.\u003c/p>\n\u003cp>Rich and Pac met around ’91 through a common friend, and became homies; not making music, just hanging out. As Rich’s career was in full swing and Shakur’s was just getting off the ground, Pac asked to be on a track with Rich. “Na, we’re doing gangsta music,” the rapper from the Rolling Hundreds told the young MC from Marin. “You on that Black Power shit.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>", "attributes": { "named": {}, "numeric": [] } }, { "type": "component", "content": "", "name": "aside", "attributes": { "named": { "postid": "arts_13927810", "label": "" }, "numeric": [] } }, { "type": "contentString", "content": "\u003cdiv class=\"post-body\">\u003cp>The two stayed in contact, though, and Rich watched Tupac’s career explode. When Pac was incarcerated, they exchanged letters; mail that Rich wishes he would’ve kept. With a custom Harley motorcycle parked behind him, painted with Tupac’s face on it, Rich says, “When it’s your homeboy, you not planning on him dying and being one of the most famous people in the world.”\u003c/p>\n\u003cp>Before his death, Rich saw visible changes in Tupac. “He was moving too fast,” says Rich, who urged him to lead a more private life. But that didn’t happen. Rich had to accept that “my little homie became my big homie,” as he says. So Rich did his best to look out for him in life, and continues to represent for him after his death.\u003c/p>\n\u003cp>In addition to the customized motorcycle — named Makaveli — Rich has photos, a framed plaque of albums commemorating the songs they recorded together, and a set of coat hangers in the form of middle fingers. (Tupac loved flipping people off.) Rich also has a handwritten contract ensuring songwriting royalties for his contribution to the song “Heavy in the Game,” framed and mounted on the wall in his house — signed by Tupac and his late mother, Afeni Shakur, just months before Tupac’s death.\u003c/p>\n\u003cfigure id=\"attachment_13968028\" class=\"wp-caption aligncenter\" style=\"max-width: 1800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968028\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7651-scaled-e1731531563979.jpg\" alt=\"A handwritten contract by Tupac Shakur, ensuring Richie Rich gets royalties for their work together; written just months before Tupac's death.\" width=\"1800\" height=\"1510\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7651-scaled-e1731531563979.jpg 1800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7651-scaled-e1731531563979-800x671.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7651-scaled-e1731531563979-1020x856.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7651-scaled-e1731531563979-160x134.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7651-scaled-e1731531563979-768x644.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7651-scaled-e1731531563979-1536x1289.jpg 1536w\" sizes=\"(max-width: 1800px) 100vw, 1800px\">\u003cfigcaption class=\"wp-caption-text\">A handwritten contract by Tupac Shakur, ensuring that Richie Rich received royalties for their work together, written just months before Tupac’s death. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">A\u003c/span>\u003c/p>\u003cp>ll of the art in Rich’s house is properly positioned. His crib is well-kept and organized. His cars are pristine and his head is shaved clean. It’s all a reflection of who he is, and an extension of the discipline his mother instilled in him.\u003c/p>\n\u003cp>But there are still times when everything isn’t all put together. Instances when the unpredictable happens, like when he hits the stage and literally breaks a leg. That’s when the cool, calm, collected Rich takes a backseat, and Double R comes out.\u003c/p>\n\u003cp>“I know what happened that day,” says Rich, reflecting on the day he fell at the Pergola. He suspects that someone else showed up inside of him — someone he’s known for a while.\u003c/p>\n\u003cp>“He always shows up when I’m in distress,” says Rich. The persona never stays there long enough to introduce himself, but Rich brags, “He’s raw. He knows how to rap, how to ride motorcycles, he knows how to drive cars. Yeah, he’s good at a lot of things.”\u003c/p>\n\u003cfigure id=\"attachment_13968029\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968029\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/LaRussell-x-Richie-Rich-New-Parish-Richie-Rich-111024-74-scaled.jpeg\" alt=\"LaRussell, excited to see Richie Rich perform again, says this show was extra-special for his mother and father who were in the audience at The New Parish during the show.\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/LaRussell-x-Richie-Rich-New-Parish-Richie-Rich-111024-74-scaled.jpeg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/LaRussell-x-Richie-Rich-New-Parish-Richie-Rich-111024-74-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/LaRussell-x-Richie-Rich-New-Parish-Richie-Rich-111024-74-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/LaRussell-x-Richie-Rich-New-Parish-Richie-Rich-111024-74-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/LaRussell-x-Richie-Rich-New-Parish-Richie-Rich-111024-74-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/LaRussell-x-Richie-Rich-New-Parish-Richie-Rich-111024-74-1536x1024.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/LaRussell-x-Richie-Rich-New-Parish-Richie-Rich-111024-74-2048x1365.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/LaRussell-x-Richie-Rich-New-Parish-Richie-Rich-111024-74-1920x1280.jpeg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">LaRussell, excited to see Richie Rich perform again, says the New Parish show was extra-special for his mother and father, who were in the audience. \u003ccite>(Jason Hayes / \u003ca href=\"https://www.instagram.com/j.castae/?hl=en\" target=\"_blank\">J.Castae\u003c/a>)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The song that started all of this, “What We Doin!?,” was released in June 2024 — with some subtly prophetic lines. On the first verse, recorded weeks before Rich injured his leg while performing the song, LaRussell says “Broke a leg, re-learned how to stand.” In the third verse, Rich advises: “If you know me, never underestimate the OG.” Doctors told him it would take eight months to heal. Four months later he was back on stage.\u003c/p>\n\u003cp>At The New Parish on that Sunday afternoon in Oakland, Rich was sharp throughout the hour-long performance. A few weeks before the show, LaRussell had pulled some of his favorite Richie Rich tracks and asked if he could add them to the setlist. And though they didn’t rehearse beforehand, the two didn’t miss a beat, going through hit after hit, like Rich’s 2000 track “Playboy” and LaRussell’s 2021 song “GT Coupe.” They reimagined songs in never-before-heard iterations, spanning generations.\u003c/p>\n\u003cp>The following day, Rich tells me his leg is doing fine. Talking just after getting off the phone with LaRussell, he adds that the younger rapper discussed future collaborations and offered continued encouragement to the rapper who, nearly 30 years after his Def Jam debut, has more than earned the title \u003cem>Seasoned Veteran\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>", "attributes": { "named": {}, "numeric": [] } }, { "type": "component", "content": "", "name": "ad", "attributes": { "named": { "label": "floatright" }, "numeric": [ "floatright" ] } }, { "type": "contentString", "content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I didn’t know you was a dog like that, Double,” LaRussell told him. “A unc, you still got it.”\u003c/p>\n\n\u003c/div>\u003c/p>", "attributes": { "named": {}, "numeric": [] } } ], "link": "/arts/13967973/richie-rich-oakland-rap-larussell-second-act", "authors": [ "11491" ], "categories": [ "arts_1", "arts_69" ], "tags": [ "arts_10342", "arts_10278", "arts_831", "arts_13246", "arts_1143", "arts_974", "arts_19347", "arts_4269", "arts_3800" ], "featImg": "arts_13968023", "label": "arts" }, "arts_13966861": { "type": "posts", "id": "arts_13966861", "meta": { "index": "posts_1716263798", "site": "arts", "id": "13966861", "score": null, "sort": [ 1731454870000 ] }, "guestAuthors": [], "slug": "judith-heumann-disability-rights-uc-berkeley-center-independent-living", "title": "The ‘Rolling Warrior’ Who Demanded Equality for People With Disabilities", "publishDate": 1731454870, "format": "standard", "headTitle": "The ‘Rolling Warrior’ Who Demanded Equality for People With Disabilities | KQED", "labelTerm": { "term": 22303, "site": "arts" }, "content": "\u003cp>\u003ca href=\"https://video.kqed.org/video/brief-but-spectacular-1678142686/\">Judy Heumann\u003c/a> never felt ashamed to use a wheelchair. Rather, what she felt most consistently throughout her life was fury at the many ways she was routinely excluded by a world that treated disabled people as second-class citizens.\u003c/p>\n\u003cp>“Disability isn’t a tragedy,” she said in 1990. “The tragedy is being excluded from contributing to society because of a narrow doorway, or lack of a diploma or job.”\u003c/p>\n\u003cp>[aside postid='arts_13955066']Heumann knew all about being excluded. After losing her ability to walk in 1949 after a bout of polio at 18 months old, the New Yorker was denied a place in her local school because the administration there considered her “a fire hazard.” At 9 or 10, she was permitted to join special education classes in the basement of a Brooklyn school. (“We respected each other,” Huemann later said of her classmates, but “in some way, even when we were that young, we all knew we were being sidelined.”) In 1970, despite being qualified to receive her teaching license, the New York City Board of Education deemed her too much of a risk to allow in classrooms.\u003c/p>\n\u003cp>Heumann quickly realized that even organizations set up to battle discrimination might exclude her. When she called the \u003ca href=\"https://www.kqed.org/news/tag/aclu\">ACLU\u003c/a> for legal assistance in her fight against the Board of Education, the 22-year-old was told that being denied a teaching license for “medical reasons” didn’t count as discrimination. Heumann wrote in her 2020 autobiography \u003cem>Being Heumann\u003c/em>, that she was frustrated to realize that even the 1964 Civil Rights Act excluded her.\u003c/p>\n\u003cp>“[The act is] intended to end discrimination on the basis of race, color, religion and natural origin, but made no mention of disability. There was no law I could quote or legal precedent to cite … There were no disability rights organizations.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It was then that Heumann began her lifelong work to methodically and systematically transform America for people with disabilities. She refused to be daunted in the face of much more powerful forces. She refused to back down from any of her battles, no matter what blocked her path. And by the time of her death in 2023, at the age of 75, Heumann’s impact was seismic.\u003c/p>\n\u003cp>Heumann’s life of activism began when she decided to ignore the ACLU’s assessment that she wasn’t being discriminated against. Instead, she sued the Board of Education and won. As a result, Heumann became the first wheelchair-using teacher in New York. In the course of that battle, she also founded and became president of \u003ca href=\"https://www.disabledinaction.org/\">Disabled in Action\u003c/a> (DIA). The disability rights organization used protests, letter-writing campaigns, statements at public hearings and calls to public officials to make headway with their struggles. Its members absolutely refused to blend into the background.\u003c/p>\n\u003cfigure id=\"attachment_13966863\" class=\"wp-caption aligncenter\" style=\"max-width: 1662px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966863\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/judy-protest.jpg\" alt=\"Men and women — some of them using wheelchairs — carry protest signs in the street.\" width=\"1662\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/judy-protest.jpg 1662w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/judy-protest-800x963.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/judy-protest-1020x1227.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/judy-protest-160x193.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/judy-protest-768x924.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/judy-protest-1276x1536.jpg 1276w\" sizes=\"auto, (max-width: 1662px) 100vw, 1662px\">\u003cfigcaption class=\"wp-caption-text\">Judy Heumann, protesting at San Francisco’s Civic Center in May 1980. \u003ccite>(San Francisco Chronicle/Hearst Newspapers via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We didn’t just come to meetings,” Heumann said in the 2020 documentary \u003ca href=\"https://www.kqed.org/arts/13877373/now-playing-crip-camp-recalls-coming-of-age-through-activism\">\u003cem>Crip Camp\u003c/em>\u003c/a>. “We yelled out at meetings, we challenged people. We were definitely considered a militant organization because we were very strong in our actions; because we disrupted things.”\u003c/p>\n\u003cp>Heumann brought that energy with her when she first came to study at \u003ca href=\"https://www.kqed.org/arts/tag/uc-berkeley\">UC Berkeley\u003c/a>. After earning a degree in speech therapy from Long Island University in 1969, Heumann got her master’s in public health at Berkeley in 1975. On campus, she was energized by the wealth of student organizing taking place during the era and joined the board of the \u003ca href=\"https://thecil.org/\">Center for Independent Living\u003c/a> (CIL) in 1973. CIL had been founded a year earlier by Ed Roberts, the first wheelchair user to attend UC Berkeley.\u003c/p>\n\u003cp>[aside postid='arts_13964200']The organization was determined to act as a support network for people with disabilities, offering accessible transit, personal assistant referrals, help locating suitable housing and jobs, and even running a wheelchair repair shop. CIL’s end goal was self-sufficiency for all disabled people. Heumann’s focus, as always, was turning community frustration into positive action. Her talent for doing so would become abundantly clear in April 1977, when she and around 100 other protesters staged a 24-day sit-in at the Department of Health, Education and Welfare inside San Francisco’s Federal Building.\u003c/p>\n\u003cp>The lengthy protest was all part of an effort to get Section 504 of 1973’s Rehabilitation Act signed and enacted by the Secretary of Health, Education and Welfare. Section 504 prohibited discrimination by any organization that was receiving federal funds. (Incidentally, President Nixon only signed the Rehabilitation Act after Heumann and 50 other protesters shut down a major intersection of Manhattan with a protest outside Nixon’s New York headquarters.)\u003c/p>\n\u003cp>Heumann and her cohorts knew that getting the measure signed would force a major change in how public transport, public buildings, schools and a variety of other institutions accommodated people with disabilities. The sit-in was especially arduous for the protesters due to their reliance on medications, assistants and therapeutic equipment. Nevertheless, they persisted, with Heumann often singing to keep spirits lifted.\u003c/p>\n\u003cfigure id=\"attachment_13877414\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13877414\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/01078_HolLynnDLil_504-early-rally_folder-0-image-13_REF_COVER.jpg\" alt=\"A woman in a wheelchair speaks enthusiastically into a microphone. She is wearing an anorak and glasses.\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/01078_HolLynnDLil_504-early-rally_folder-0-image-13_REF_COVER.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/01078_HolLynnDLil_504-early-rally_folder-0-image-13_REF_COVER-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/01078_HolLynnDLil_504-early-rally_folder-0-image-13_REF_COVER-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/01078_HolLynnDLil_504-early-rally_folder-0-image-13_REF_COVER-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/01078_HolLynnDLil_504-early-rally_folder-0-image-13_REF_COVER-1020x574.jpg 1020w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Judy Heumann at the mic in 1980. \u003ccite>(HolLynn D'Lil)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Heumann and her friends had outside support too. Civil rights groups across the Bay Area rushed to support the sit-in. The Black Panthers brought the protesters hot meals on a nightly basis. Union members, multiple civil rights organizations and key leaders at GLIDE (including Rev. Cecil Williams) were vocal supporters who stepped up to offer assistance in whatever way they could.\u003c/p>\n\u003cp>After a lengthy standoff — including attempts to cut off protesters’ access to phones, hot water and food (several, including Heumann, had opted to go on hunger strike regardless) — Secretary of Health, Education, and Welfare Joseph Califano finally signed Section 504. Heumann highlighted to the press that the sustained protest was proof of disabled people’s “stamina, strength [and] intelligence.” She understood how limited public perceptions were at the time.\u003c/p>\n\u003cp>Elated at their victory, Heumann and her fellow protesters knew there was still much to be done. Though on paper, Section 504 meant federally funded entities must accommodate disabled people, excuses were made repeatedly about why action would not be taken immediately. (The American Public Transit Association, for example, said it couldn’t afford to put wheelchair lifts into buses, even though the cost was the same as installing air conditioning). To make matters worse, better legal protections were still badly needed at a federal level to make all public places more accessible, and to make employer discrimination illegal.\u003c/p>\n\u003cp>[aside postid='arts_13919491']During this period, Heumann continued to campaign in earnest as CIL’s senior deputy director. In Oakland, she co-founded the World Institute on Disability (WID) to begin advocating for disability rights around the globe. CIL also set up a new organization to better handle ongoing legal matters. The \u003ca href=\"https://dredf.org/\">Disability Rights Education and Defense Fund\u003c/a> (DREDF) was the first legal organization run by and for people with disabilities. As such, it was inundated with calls from people all over the U.S. seeking advice on how to make their own towns and cities more accessible. But DREDF had already begun formulating a big idea to touch every corner of America in one swoop: the Americans with Disabilities Act (ADA).\u003c/p>\n\u003cp>It took until 1988 for the first version of the ADA to reach Congress. It failed to pass. A second version arrived in May 1989, but when it still hadn’t passed 10 months later, 1,000 protesters descended on Washington, D.C. to make their voices heard. Scores of disabled activists dropped to the ground and literally dragged themselves up the 83 inaccessible steps of the Capitol building. It was an image that lawmakers wouldn’t soon forget.\u003c/p>\n\u003cp>On July 26, 1990, President George H.W. Bush finally signed the ADA into law. “Let the shameful wall of exclusion finally come tumbling down,” he declared.\u003c/p>\n\u003cp>Just three years later, Heumann would take on the role of assistant secretary for the Office of Special Education and Rehabilitative Services in Bill Clinton’s Department of Education. She served for the duration of the president’s term, as she did when Barack Obama gave her the role of special advisor for international disability rights in the Department of State.\u003c/p>\n\u003cp>For the rest of her life, Heumann never, ever stopped advocating for people with disabilities. And when she received praise for the multitude of ways she helped change countless lives for the better, her response was always rooted in humility.\u003c/p>\n\u003cp>As she wrote in her 2021 book, \u003cem>Rolling Warrior\u003c/em>: “All we did was refuse to believe that we were the problem.”\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>To learn about other Rebel Girls from Bay Area History, visit the \u003ca href=\"https://www.kqed.org/rebelgirls\" target=\"_blank\" rel=\"noopener noreferrer\">Rebel Girls homepage\u003c/a>.\u003c/em>\u003c/p>\n\n", "blocks": [], "excerpt": "Judy Heumann spent her life taking on battles coast to coast to ensure dignity, public access and respect for all Americans.", "status": "publish", "parent": 0, "modified": 1736379042, "stats": { "hasAudio": false, "hasVideo": false, "hasChartOrMap": false, "iframeSrcs": [], "hasGoogleForm": false, "hasGallery": false, "hasHearkenModule": false, "hasPolis": false, "paragraphCount": 24, "wordCount": 1504 }, "headData": { "title": "Judy Heumann: A Life in Service to People With Disabilities | KQED", "description": "Judy Heumann spent her life taking on battles coast to coast to ensure dignity, public access and respect for all Americans.", "ogTitle": "The ‘Rolling Warrior’ Who Demanded Equality for People With Disabilities", "ogDescription": "", "ogImgId": "", "twTitle": "The ‘Rolling Warrior’ Who Demanded Equality for People With Disabilities", "twDescription": "", "twImgId": "", "socialTitle": "Judy Heumann: A Life in Service to People With Disabilities%%page%% %%sep%% KQED", "schema": { "@context": "http://schema.org", "@type": "Article", "headline": "The ‘Rolling Warrior’ Who Demanded Equality for People With Disabilities", "datePublished": "2024-11-12T15:41:10-08:00", "dateModified": "2025-01-08T15:30:42-08:00", "image": "https://cdn.kqed.org/wp-content/uploads/2020/02/[email protected]" } }, "audioUrl": "https://traffic.omny.fm/d/clips/0af137ef-751e-4b19-a055-aaef00d2d578/ffca7e9f-6831-4[…]f-aaef00f5a073/82afdd97-2014-4b95-a625-b24b0017411d/audio.mp3", "sticky": false, "nprStoryId": "kqed-13966861", "templateType": "standard", "featuredImageType": "standard", "excludeFromSiteSearch": "Include", "articleAge": "0", "path": "/arts/13966861/judith-heumann-disability-rights-uc-berkeley-center-independent-living", "audioTrackLength": null, "parsedContent": [ { "type": "contentString", "content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://video.kqed.org/video/brief-but-spectacular-1678142686/\">Judy Heumann\u003c/a> never felt ashamed to use a wheelchair. Rather, what she felt most consistently throughout her life was fury at the many ways she was routinely excluded by a world that treated disabled people as second-class citizens.\u003c/p>\n\u003cp>“Disability isn’t a tragedy,” she said in 1990. “The tragedy is being excluded from contributing to society because of a narrow doorway, or lack of a diploma or job.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>", "attributes": { "named": {}, "numeric": [] } }, { "type": "component", "content": "", "name": "aside", "attributes": { "named": { "postid": "arts_13955066", "label": "" }, "numeric": [] } }, { "type": "contentString", "content": "\u003cdiv class=\"post-body\">\u003cp>Heumann knew all about being excluded. After losing her ability to walk in 1949 after a bout of polio at 18 months old, the New Yorker was denied a place in her local school because the administration there considered her “a fire hazard.” At 9 or 10, she was permitted to join special education classes in the basement of a Brooklyn school. (“We respected each other,” Huemann later said of her classmates, but “in some way, even when we were that young, we all knew we were being sidelined.”) In 1970, despite being qualified to receive her teaching license, the New York City Board of Education deemed her too much of a risk to allow in classrooms.\u003c/p>\n\u003cp>Heumann quickly realized that even organizations set up to battle discrimination might exclude her. When she called the \u003ca href=\"https://www.kqed.org/news/tag/aclu\">ACLU\u003c/a> for legal assistance in her fight against the Board of Education, the 22-year-old was told that being denied a teaching license for “medical reasons” didn’t count as discrimination. Heumann wrote in her 2020 autobiography \u003cem>Being Heumann\u003c/em>, that she was frustrated to realize that even the 1964 Civil Rights Act excluded her.\u003c/p>\n\u003cp>“[The act is] intended to end discrimination on the basis of race, color, religion and natural origin, but made no mention of disability. There was no law I could quote or legal precedent to cite … There were no disability rights organizations.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>", "attributes": { "named": {}, "numeric": [] } }, { "type": "component", "content": "", "name": "ad", "attributes": { "named": { "label": "fullwidth" }, "numeric": [ "fullwidth" ] } }, { "type": "contentString", "content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It was then that Heumann began her lifelong work to methodically and systematically transform America for people with disabilities. She refused to be daunted in the face of much more powerful forces. She refused to back down from any of her battles, no matter what blocked her path. And by the time of her death in 2023, at the age of 75, Heumann’s impact was seismic.\u003c/p>\n\u003cp>Heumann’s life of activism began when she decided to ignore the ACLU’s assessment that she wasn’t being discriminated against. Instead, she sued the Board of Education and won. As a result, Heumann became the first wheelchair-using teacher in New York. In the course of that battle, she also founded and became president of \u003ca href=\"https://www.disabledinaction.org/\">Disabled in Action\u003c/a> (DIA). The disability rights organization used protests, letter-writing campaigns, statements at public hearings and calls to public officials to make headway with their struggles. Its members absolutely refused to blend into the background.\u003c/p>\n\u003cfigure id=\"attachment_13966863\" class=\"wp-caption aligncenter\" style=\"max-width: 1662px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966863\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/judy-protest.jpg\" alt=\"Men and women — some of them using wheelchairs — carry protest signs in the street.\" width=\"1662\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/judy-protest.jpg 1662w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/judy-protest-800x963.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/judy-protest-1020x1227.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/judy-protest-160x193.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/judy-protest-768x924.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/judy-protest-1276x1536.jpg 1276w\" sizes=\"auto, (max-width: 1662px) 100vw, 1662px\">\u003cfigcaption class=\"wp-caption-text\">Judy Heumann, protesting at San Francisco’s Civic Center in May 1980. \u003ccite>(San Francisco Chronicle/Hearst Newspapers via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We didn’t just come to meetings,” Heumann said in the 2020 documentary \u003ca href=\"https://www.kqed.org/arts/13877373/now-playing-crip-camp-recalls-coming-of-age-through-activism\">\u003cem>Crip Camp\u003c/em>\u003c/a>. “We yelled out at meetings, we challenged people. We were definitely considered a militant organization because we were very strong in our actions; because we disrupted things.”\u003c/p>\n\u003cp>Heumann brought that energy with her when she first came to study at \u003ca href=\"https://www.kqed.org/arts/tag/uc-berkeley\">UC Berkeley\u003c/a>. After earning a degree in speech therapy from Long Island University in 1969, Heumann got her master’s in public health at Berkeley in 1975. On campus, she was energized by the wealth of student organizing taking place during the era and joined the board of the \u003ca href=\"https://thecil.org/\">Center for Independent Living\u003c/a> (CIL) in 1973. CIL had been founded a year earlier by Ed Roberts, the first wheelchair user to attend UC Berkeley.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>", "attributes": { "named": {}, "numeric": [] } }, { "type": "component", "content": "", "name": "aside", "attributes": { "named": { "postid": "arts_13964200", "label": "" }, "numeric": [] } }, { "type": "contentString", "content": "\u003cdiv class=\"post-body\">\u003cp>The organization was determined to act as a support network for people with disabilities, offering accessible transit, personal assistant referrals, help locating suitable housing and jobs, and even running a wheelchair repair shop. CIL’s end goal was self-sufficiency for all disabled people. Heumann’s focus, as always, was turning community frustration into positive action. Her talent for doing so would become abundantly clear in April 1977, when she and around 100 other protesters staged a 24-day sit-in at the Department of Health, Education and Welfare inside San Francisco’s Federal Building.\u003c/p>\n\u003cp>The lengthy protest was all part of an effort to get Section 504 of 1973’s Rehabilitation Act signed and enacted by the Secretary of Health, Education and Welfare. Section 504 prohibited discrimination by any organization that was receiving federal funds. (Incidentally, President Nixon only signed the Rehabilitation Act after Heumann and 50 other protesters shut down a major intersection of Manhattan with a protest outside Nixon’s New York headquarters.)\u003c/p>\n\u003cp>Heumann and her cohorts knew that getting the measure signed would force a major change in how public transport, public buildings, schools and a variety of other institutions accommodated people with disabilities. The sit-in was especially arduous for the protesters due to their reliance on medications, assistants and therapeutic equipment. Nevertheless, they persisted, with Heumann often singing to keep spirits lifted.\u003c/p>\n\u003cfigure id=\"attachment_13877414\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13877414\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/01078_HolLynnDLil_504-early-rally_folder-0-image-13_REF_COVER.jpg\" alt=\"A woman in a wheelchair speaks enthusiastically into a microphone. She is wearing an anorak and glasses.\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/01078_HolLynnDLil_504-early-rally_folder-0-image-13_REF_COVER.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/01078_HolLynnDLil_504-early-rally_folder-0-image-13_REF_COVER-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/01078_HolLynnDLil_504-early-rally_folder-0-image-13_REF_COVER-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/01078_HolLynnDLil_504-early-rally_folder-0-image-13_REF_COVER-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/01078_HolLynnDLil_504-early-rally_folder-0-image-13_REF_COVER-1020x574.jpg 1020w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Judy Heumann at the mic in 1980. \u003ccite>(HolLynn D'Lil)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Heumann and her friends had outside support too. Civil rights groups across the Bay Area rushed to support the sit-in. The Black Panthers brought the protesters hot meals on a nightly basis. Union members, multiple civil rights organizations and key leaders at GLIDE (including Rev. Cecil Williams) were vocal supporters who stepped up to offer assistance in whatever way they could.\u003c/p>\n\u003cp>After a lengthy standoff — including attempts to cut off protesters’ access to phones, hot water and food (several, including Heumann, had opted to go on hunger strike regardless) — Secretary of Health, Education, and Welfare Joseph Califano finally signed Section 504. Heumann highlighted to the press that the sustained protest was proof of disabled people’s “stamina, strength [and] intelligence.” She understood how limited public perceptions were at the time.\u003c/p>\n\u003cp>Elated at their victory, Heumann and her fellow protesters knew there was still much to be done. Though on paper, Section 504 meant federally funded entities must accommodate disabled people, excuses were made repeatedly about why action would not be taken immediately. (The American Public Transit Association, for example, said it couldn’t afford to put wheelchair lifts into buses, even though the cost was the same as installing air conditioning). To make matters worse, better legal protections were still badly needed at a federal level to make all public places more accessible, and to make employer discrimination illegal.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>", "attributes": { "named": {}, "numeric": [] } }, { "type": "component", "content": "", "name": "aside", "attributes": { "named": { "postid": "arts_13919491", "label": "" }, "numeric": [] } }, { "type": "contentString", "content": "\u003cdiv class=\"post-body\">\u003cp>During this period, Heumann continued to campaign in earnest as CIL’s senior deputy director. In Oakland, she co-founded the World Institute on Disability (WID) to begin advocating for disability rights around the globe. CIL also set up a new organization to better handle ongoing legal matters. The \u003ca href=\"https://dredf.org/\">Disability Rights Education and Defense Fund\u003c/a> (DREDF) was the first legal organization run by and for people with disabilities. As such, it was inundated with calls from people all over the U.S. seeking advice on how to make their own towns and cities more accessible. But DREDF had already begun formulating a big idea to touch every corner of America in one swoop: the Americans with Disabilities Act (ADA).\u003c/p>\n\u003cp>It took until 1988 for the first version of the ADA to reach Congress. It failed to pass. A second version arrived in May 1989, but when it still hadn’t passed 10 months later, 1,000 protesters descended on Washington, D.C. to make their voices heard. Scores of disabled activists dropped to the ground and literally dragged themselves up the 83 inaccessible steps of the Capitol building. It was an image that lawmakers wouldn’t soon forget.\u003c/p>\n\u003cp>On July 26, 1990, President George H.W. Bush finally signed the ADA into law. “Let the shameful wall of exclusion finally come tumbling down,” he declared.\u003c/p>\n\u003cp>Just three years later, Heumann would take on the role of assistant secretary for the Office of Special Education and Rehabilitative Services in Bill Clinton’s Department of Education. She served for the duration of the president’s term, as she did when Barack Obama gave her the role of special advisor for international disability rights in the Department of State.\u003c/p>\n\u003cp>For the rest of her life, Heumann never, ever stopped advocating for people with disabilities. And when she received praise for the multitude of ways she helped change countless lives for the better, her response was always rooted in humility.\u003c/p>\n\u003cp>As she wrote in her 2021 book, \u003cem>Rolling Warrior\u003c/em>: “All we did was refuse to believe that we were the problem.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>", "attributes": { "named": {}, "numeric": [] } }, { "type": "component", "content": "", "name": "ad", "attributes": { "named": { "label": "floatright" }, "numeric": [ "floatright" ] } }, { "type": "contentString", "content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>To learn about other Rebel Girls from Bay Area History, visit the \u003ca href=\"https://www.kqed.org/rebelgirls\" target=\"_blank\" rel=\"noopener noreferrer\">Rebel Girls homepage\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>", "attributes": { "named": {}, "numeric": [] } } ], "link": "/arts/13966861/judith-heumann-disability-rights-uc-berkeley-center-independent-living", "authors": [ "11242" ], "series": [ "arts_22303" ], "categories": [ "arts_1", "arts_7862" ], "tags": [ "arts_2733", "arts_21850", "arts_9693", "arts_10278", "arts_21841" ], "featImg": "arts_13967399", "label": "arts_22303" }, "arts_13964200": { "type": "posts", "id": "arts_13964200", "meta": { "index": "posts_1716263798", "site": "arts", "id": "13964200", "score": null, "sort": [ 1729264124000 ] }, "guestAuthors": [], "slug": "violeta-marasigan-bullet-filipina-activist-ihotel-manilatown-san-francisco-marcos", "title": "The Filipina Activist So Unstoppable, Her Nickname Was ‘Bullet’", "publishDate": 1729264124, "format": "standard", "headTitle": "The Filipina Activist So Unstoppable, Her Nickname Was ‘Bullet’ | KQED", "labelTerm": { "term": 22303, "site": "arts" }, "content": "\u003cp>In January 1970, Violeta ‘Bullet’ Marasigan’s husband implored her to not “bring any more work home.”\u003c/p>\n\u003cp>Quoted in a \u003cem>San Francisco Examiner\u003c/em> profile, Pete Marasigan was, the newspaper reported, only half-joking. Because when Violeta Marasigan brought the office home with her, it wasn’t stacks of papers and files. More often than not, it was human beings that needed food or a bed for the night.\u003c/p>\n\u003cp>Marasigan had been in nonstop action since 1968, when she was hired by San Francisco’s United Filipino Association (UFA) as a social worker. Born in the Philippines in 1939, Marasigan had moved to California to study at San Francisco State College. Shortly after graduation, the UFA brought her on to assist the elders — or \u003cem>\u003ca href=\"https://en.wikipedia.org/wiki/Manong#:~:text=Manong%20(Mah%2Dnoh%2Dng,given%20to%20an%20older%20sister.\">manongs\u003c/a> \u003c/em>— of Manilatown, a 10-block stretch of Filipino businesses, restaurants and social hubs centered around Kearny and Jackson Streets in San Francisco. She was perfect for the position.\u003c/p>\n\u003cp>[aside postid='arts_13929289']“I’m very optimistic,” she later explained. “I think a lot of things can be done if we really put ourselves in it — [and] not half-heartedly.”\u003c/p>\n\u003cp>There was nothing half-hearted about Marasigan. She spent her entire life fighting for Filipinos, both in the Bay and abroad. Her nickname “Bullet” was coined while still in her teens; “Bolet” is a Tagalog version of the name Violeta, but Marasigan’s moniker morphed into “Bullet” once her friends realized how impossible it was to stand in her way. That much became clear to San Francisco as soon as Marasigan joined forces with the UFA.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“When I started working with the old men,” she told the \u003cem>San Francisco Examiner\u003c/em> in 1970, “I saw that they were discriminated against in terms of their access to social services. A lot of them had been here for over 30 years, but they could still barely speak English or write. These manongs were mostly single retired farmworkers and seamen living on social security retirement benefits.”\u003c/p>\n\u003cp>Marasigan quickly deduced that most of these men — frequently World War II veterans — were not receiving all of the SSI benefits they were entitled to. (Some were receiving less than half of the appropriate amount.) Marasigan took it upon herself to bring these men into the Social Security office and advocate for each of them, one by one, until they each received what they were owed. And they were owed a lot.\u003c/p>\n\u003cp>After the U.S. colonized the Philippines in 1898, Filipino men became a cheap labor source for American companies, particularly in agriculture, canneries and the merchant navy. In the 1920s, 100,000 workers arrived from the Philippines to the U.S. to work. But not only were these men barred from bringing their families with them, by 1933 in California, they had also been prohibited from marrying outside of their race. (That year, the California senate saw fit to add “Malay” to the state’s interracial marriage ban, thereby \u003ca href=\"https://www.cschs.org/wp-content/uploads/2021/05/History-Resources-Articles-Caragozian-Ban-on-Interracial-Marriages.pdf\">preventing Filipino men from marrying\u003c/a> most of the women in their vicinity.)\u003c/p>\n\u003cp>[aside postid='arts_13874853']With so many barriers to building a traditional family structure, it became essential for this first wave of manongs to form their own communities. Manilatown was central to that, and central to Manilatown was the International Hotel (often called the “I-Hotel”). The three-story structure at 838 Kearny Street housed 200 residents — mostly elderly and impoverished Filipino and Chinese men. The UFA’s headquarters, appropriately enough, was situated directly next door.\u003c/p>\n\u003cp>In Autumn of 1968, Marasigan and the UFA faced their biggest challenge yet. Residents at the I-Hotel began receiving eviction notices. (The business that owned the property, Milton Meyer and Company, wanted to turn the hotel into a multi-level parking lot.) Residents, students and other civil rights groups banded together to keep the I-Hotel open; Marasigan was a key player in negotiating the hotel a new three-year lease in 1969.\u003c/p>\n\u003cp>Marasigan couldn’t have known that just four years later, the hotel would be sold to a developer. Then, on Aug. 7, 1977, 400 police officers forced their way through a human chain around the I-Hotel and forcibly dragged out its residents, bringing an end to the hotel — and Manilatown itself — for good.\u003c/p>\n\u003cfigure id=\"attachment_13966696\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966696\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/i-hotel.jpg\" alt=\"Men and women in 1970s clothing cluster together outside a building with a sign that says 'International Hotel' on it. \" width=\"2000\" height=\"1427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/i-hotel.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/i-hotel-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/i-hotel-1020x728.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/i-hotel-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/i-hotel-768x548.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/i-hotel-1536x1096.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/i-hotel-1920x1370.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Protesters gathered outside the International Hotel for days before police forcibly emptied the building. This image was taken on Aug. 3, 1977. \u003ccite>(Dave Randolph/San Francisco Chronicle via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Marasigan was not there to see the end of the hotel she fought so hard to save. She had returned to Manila in 1971, quickly joining the resistance against Ferdinand Marcos, the dictator that placed the Philippines under martial law, put an end to the free press and began violently oppressing civilians. Marasigan proved herself once more to be an outspoken activist, visiting and raising money for political prisoners. For her trouble, Marasigan was arrested in 1982 on explosives charges.\u003c/p>\n\u003cp>[aside postid='arts_13955066']Marasigan spent a year incarcerated at the infamous \u003ca href=\"https://en.wikipedia.org/wiki/Camp_Crame\">Camp Crame\u003c/a> before being fully exonerated. During her time as a political prisoner, Marasigan helped organize inmates, held political discussions and even conducted a 22-day hunger strike. In 1995, looking back on the turbulent time, she told the \u003cem>Examiner\u003c/em>, “The only thing explosive about me was my mouth and my farts.”\u003c/p>\n\u003cp>She expanded: “Filipinos laugh a lot. We laugh at our mistakes. It’s one of the strengths we have. We can also fight.”\u003c/p>\n\u003cp>And fight she did. Undeterred by her time in Camp Crame, in 1984, she co-founded \u003ca href=\"https://en.wikipedia.org/wiki/Gabriela_Women%27s_Party\">Gabriela Women’s Party\u003c/a> — an organization formed after 10,000 women marched against Marcos, defying a ban on protests. That same year, Maragisan also helped found \u003ca href=\"https://seldapilipinas.wordpress.com/about/\">Selda\u003c/a>, an advocacy organization by and for political prisoners. As part of her work with Gabriela and the National Council of Churches in the Philippines (NCCP), Maragisan had a hand in opening two safe havens for women: the \u003ca href=\"http://www.genuinesecurity.org/partners/buklod.htm\">Buklod Center in Olongapo City\u003c/a>, geared towards sex workers, and the \u003ca href=\"https://batiscenterforwomen.wordpress.com/about/history/\">Batis Center for Women\u003c/a> in Quezon City, which focused on female migrant workers.\u003c/p>\n\u003cp>Marasigan finally came back to the Bay in 1988 and, though there was no Manilatown to return to, went straight back to work for Filipino immigrants. She worked as a social worker at \u003ca href=\"https://www.somapilipinas.org/community-1/2018/7/13/west-bay-pilipino-multi-service-center\">West Bay Filipino Multi-Services\u003c/a>, \u003ca href=\"https://www.healthright360.org/parent-program/asian-american-recovery-services/\">Asian American Recovery Services\u003c/a> and the Veterans Equity Center (now known as the \u003ca href=\"https://asianpacificfund.org/affiliate/veterans-equity-center-2/\">Bayanihan Equity Center\u003c/a>).\u003c/p>\n\u003cp>Throughout the 1990s, while based in Daly City, Marasigan remained focused on seniors and veterans, setting up food and clothing banks at two separate Mission Street locations. In 1993, she co-founded the Friends of Filipino American Veterans to conduct “direct action, legal aid, advocacy and outreach programs for the veterans.” In 1994, she was president of the Filipino American Human Rights Advocates. Around this time, the editor in chief of \u003ca href=\"https://en.wikipedia.org/wiki/Filipinas_(magazine)\">\u003cem>Filipinas\u003c/em> magazine\u003c/a> Rene Ciria-Cruz called Marasigan “old reliable,” and noted: “She’s a symbol of activism. When she’s there it lends a validity to the cause being taken up.”\u003c/p>\n\u003cp>Marasigan broadened her focus even further in the ’90s, working more with children and teens — a natural progression, after she’d raised four daughters and a son of her own.\u003c/p>\n\u003cp>[aside postid='arts_13921886']In 1995, Marasigan volunteered with the Bilingual Advisory Council of Balboa Park’s \u003ca href=\"https://www.sfusd.edu/school/james-denman-middle-school\">James Denman Middle School\u003c/a>, was a member of the School Advisory Council and actively worked with teens on AIDS prevention. An article in the \u003cem>San Francisco Examiner\u003c/em> that year reported that she was prone to bluntly asking the teens at the West Bay Filipino Center on Mission St. if they were sexually active.\u003c/p>\n\u003cp>“If they cannot say ‘no’ right away,” she explained, “I grab their hand and say ‘Talk to me.’ I’m straight with them. I answer their questions and I don’t get embarrassed.”\u003c/p>\n\u003cp>Marasigan wasn’t afraid to enter a classroom and tell kids something they’d never heard before — be it about safe sex or their own history.\u003c/p>\n\u003cp>“In the curriculum,” she said at the time, “there is no cultural empowerment of other groups. Last week, we had a support group at Balboa, and we showed them Filipino history in America, and they were so surprised … How could our children have self-esteem in school when they don’t see they are part of the history of America?”\u003c/p>\n\u003cp>Sadly, Marasigan’s life of service was suddenly cut short by an accident in April 2000. She had just gotten out of her parked car when it rolled down the street, knocking her to the ground. She was 61.\u003c/p>\n\u003cp>At a \u003ca href=\"https://www.sfgate.com/bayarea/article/Memorial-Service-Held-at-City-Hall-For-Activist-2784544.php\">packed memorial service\u003c/a> for her at San Francisco’s City Hall, tributes poured in from Mayor Willie Brown, several supervisors (including Tom Ammiano and Mabel Teng) and a plethora of friends and associates. Supervisor Leland Yee didn’t mince words.\u003c/p>\n\u003cp>“Anyone with the name ‘Bullet,’ you don’t want to mess around with,” Yee said. “When you lose someone like that, you lose part of your soul.”\u003c/p>\n\u003cp>One of Marasigan’s final triumphs in life was successfully fighting to re-open the \u003ca href=\"https://www.galingbata.org/\">Filipino Education Center\u003c/a> — a bilingual school and daycare for immigrant children. She believed this was an essential grounding place that would enable future generations of Filipinos to thrive in the Bay.\u003c/p>\n\u003cp>“When we’re gone,” she explained in 1995, “the work will continue.”\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>To learn about other Rebel Girls from Bay Area History, visit the \u003ca href=\"https://www.kqed.org/rebelgirls\" target=\"_blank\" rel=\"noopener noreferrer\">Rebel Girls homepage\u003c/a>.\u003c/em>\u003c/p>\n\n", "blocks": [], "excerpt": "Violeta Marasigan fought the Marcos regime in her homeland and for the rights of Filipinos, old and young, in the Bay Area.", "status": "publish", "parent": 0, "modified": 1736452363, "stats": { "hasAudio": false, "hasVideo": false, "hasChartOrMap": false, "iframeSrcs": [], "hasGoogleForm": false, "hasGallery": false, "hasHearkenModule": false, "hasPolis": false, "paragraphCount": 30, "wordCount": 1653 }, "headData": { "title": "Violeta ‘Bullet’ Marasigan: A Life in Service to Filipino Rights | KQED", "description": "Violeta Marasigan fought the Marcos regime in her homeland and for the rights of Filipinos, old and young, in the Bay Area.", "ogTitle": "The Filipina Activist So Unstoppable, Her Nickname Was ‘Bullet’", "ogDescription": "", "ogImgId": "", "twTitle": "The Filipina Activist So Unstoppable, Her Nickname Was ‘Bullet’", "twDescription": "", "twImgId": "", "socialTitle": "Violeta ‘Bullet’ Marasigan: A Life in Service to Filipino Rights %%page%% %%sep%% KQED", "schema": { "@context": "http://schema.org", "@type": "Article", "headline": "The Filipina Activist So Unstoppable, Her Nickname Was ‘Bullet’", "datePublished": "2024-10-18T08:08:44-07:00", "dateModified": "2025-01-09T11:52:43-08:00", "image": "https://cdn.kqed.org/wp-content/uploads/2020/02/[email protected]" } }, "audioUrl": "https://traffic.omny.fm/d/clips/0af137ef-751e-4b19-a055-aaef00d2d578/ffca7e9f-6831-4[…]f-aaef00f5a073/2e330f4e-a70e-426f-8485-b2430003447e/audio.mp3", "sticky": false, "nprStoryId": "kqed-13964200", "templateType": "standard", "featuredImageType": "standard", "excludeFromSiteSearch": "Include", "articleAge": "0", "path": "/arts/13964200/violeta-marasigan-bullet-filipina-activist-ihotel-manilatown-san-francisco-marcos", "audioTrackLength": null, "parsedContent": [ { "type": "contentString", "content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In January 1970, Violeta ‘Bullet’ Marasigan’s husband implored her to not “bring any more work home.”\u003c/p>\n\u003cp>Quoted in a \u003cem>San Francisco Examiner\u003c/em> profile, Pete Marasigan was, the newspaper reported, only half-joking. Because when Violeta Marasigan brought the office home with her, it wasn’t stacks of papers and files. More often than not, it was human beings that needed food or a bed for the night.\u003c/p>\n\u003cp>Marasigan had been in nonstop action since 1968, when she was hired by San Francisco’s United Filipino Association (UFA) as a social worker. Born in the Philippines in 1939, Marasigan had moved to California to study at San Francisco State College. Shortly after graduation, the UFA brought her on to assist the elders — or \u003cem>\u003ca href=\"https://en.wikipedia.org/wiki/Manong#:~:text=Manong%20(Mah%2Dnoh%2Dng,given%20to%20an%20older%20sister.\">manongs\u003c/a> \u003c/em>— of Manilatown, a 10-block stretch of Filipino businesses, restaurants and social hubs centered around Kearny and Jackson Streets in San Francisco. She was perfect for the position.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>", "attributes": { "named": {}, "numeric": [] } }, { "type": "component", "content": "", "name": "aside", "attributes": { "named": { "postid": "arts_13929289", "label": "" }, "numeric": [] } }, { "type": "contentString", "content": "\u003cdiv class=\"post-body\">\u003cp>“I’m very optimistic,” she later explained. “I think a lot of things can be done if we really put ourselves in it — [and] not half-heartedly.”\u003c/p>\n\u003cp>There was nothing half-hearted about Marasigan. She spent her entire life fighting for Filipinos, both in the Bay and abroad. Her nickname “Bullet” was coined while still in her teens; “Bolet” is a Tagalog version of the name Violeta, but Marasigan’s moniker morphed into “Bullet” once her friends realized how impossible it was to stand in her way. That much became clear to San Francisco as soon as Marasigan joined forces with the UFA.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>", "attributes": { "named": {}, "numeric": [] } }, { "type": "component", "content": "", "name": "ad", "attributes": { "named": { "label": "fullwidth" }, "numeric": [ "fullwidth" ] } }, { "type": "contentString", "content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“When I started working with the old men,” she told the \u003cem>San Francisco Examiner\u003c/em> in 1970, “I saw that they were discriminated against in terms of their access to social services. A lot of them had been here for over 30 years, but they could still barely speak English or write. These manongs were mostly single retired farmworkers and seamen living on social security retirement benefits.”\u003c/p>\n\u003cp>Marasigan quickly deduced that most of these men — frequently World War II veterans — were not receiving all of the SSI benefits they were entitled to. (Some were receiving less than half of the appropriate amount.) Marasigan took it upon herself to bring these men into the Social Security office and advocate for each of them, one by one, until they each received what they were owed. And they were owed a lot.\u003c/p>\n\u003cp>After the U.S. colonized the Philippines in 1898, Filipino men became a cheap labor source for American companies, particularly in agriculture, canneries and the merchant navy. In the 1920s, 100,000 workers arrived from the Philippines to the U.S. to work. But not only were these men barred from bringing their families with them, by 1933 in California, they had also been prohibited from marrying outside of their race. (That year, the California senate saw fit to add “Malay” to the state’s interracial marriage ban, thereby \u003ca href=\"https://www.cschs.org/wp-content/uploads/2021/05/History-Resources-Articles-Caragozian-Ban-on-Interracial-Marriages.pdf\">preventing Filipino men from marrying\u003c/a> most of the women in their vicinity.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>", "attributes": { "named": {}, "numeric": [] } }, { "type": "component", "content": "", "name": "aside", "attributes": { "named": { "postid": "arts_13874853", "label": "" }, "numeric": [] } }, { "type": "contentString", "content": "\u003cdiv class=\"post-body\">\u003cp>With so many barriers to building a traditional family structure, it became essential for this first wave of manongs to form their own communities. Manilatown was central to that, and central to Manilatown was the International Hotel (often called the “I-Hotel”). The three-story structure at 838 Kearny Street housed 200 residents — mostly elderly and impoverished Filipino and Chinese men. The UFA’s headquarters, appropriately enough, was situated directly next door.\u003c/p>\n\u003cp>In Autumn of 1968, Marasigan and the UFA faced their biggest challenge yet. Residents at the I-Hotel began receiving eviction notices. (The business that owned the property, Milton Meyer and Company, wanted to turn the hotel into a multi-level parking lot.) Residents, students and other civil rights groups banded together to keep the I-Hotel open; Marasigan was a key player in negotiating the hotel a new three-year lease in 1969.\u003c/p>\n\u003cp>Marasigan couldn’t have known that just four years later, the hotel would be sold to a developer. Then, on Aug. 7, 1977, 400 police officers forced their way through a human chain around the I-Hotel and forcibly dragged out its residents, bringing an end to the hotel — and Manilatown itself — for good.\u003c/p>\n\u003cfigure id=\"attachment_13966696\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966696\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/i-hotel.jpg\" alt=\"Men and women in 1970s clothing cluster together outside a building with a sign that says 'International Hotel' on it. \" width=\"2000\" height=\"1427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/i-hotel.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/i-hotel-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/i-hotel-1020x728.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/i-hotel-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/i-hotel-768x548.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/i-hotel-1536x1096.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/i-hotel-1920x1370.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Protesters gathered outside the International Hotel for days before police forcibly emptied the building. This image was taken on Aug. 3, 1977. \u003ccite>(Dave Randolph/San Francisco Chronicle via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Marasigan was not there to see the end of the hotel she fought so hard to save. She had returned to Manila in 1971, quickly joining the resistance against Ferdinand Marcos, the dictator that placed the Philippines under martial law, put an end to the free press and began violently oppressing civilians. Marasigan proved herself once more to be an outspoken activist, visiting and raising money for political prisoners. For her trouble, Marasigan was arrested in 1982 on explosives charges.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>", "attributes": { "named": {}, "numeric": [] } }, { "type": "component", "content": "", "name": "aside", "attributes": { "named": { "postid": "arts_13955066", "label": "" }, "numeric": [] } }, { "type": "contentString", "content": "\u003cdiv class=\"post-body\">\u003cp>Marasigan spent a year incarcerated at the infamous \u003ca href=\"https://en.wikipedia.org/wiki/Camp_Crame\">Camp Crame\u003c/a> before being fully exonerated. During her time as a political prisoner, Marasigan helped organize inmates, held political discussions and even conducted a 22-day hunger strike. In 1995, looking back on the turbulent time, she told the \u003cem>Examiner\u003c/em>, “The only thing explosive about me was my mouth and my farts.”\u003c/p>\n\u003cp>She expanded: “Filipinos laugh a lot. We laugh at our mistakes. It’s one of the strengths we have. We can also fight.”\u003c/p>\n\u003cp>And fight she did. Undeterred by her time in Camp Crame, in 1984, she co-founded \u003ca href=\"https://en.wikipedia.org/wiki/Gabriela_Women%27s_Party\">Gabriela Women’s Party\u003c/a> — an organization formed after 10,000 women marched against Marcos, defying a ban on protests. That same year, Maragisan also helped found \u003ca href=\"https://seldapilipinas.wordpress.com/about/\">Selda\u003c/a>, an advocacy organization by and for political prisoners. As part of her work with Gabriela and the National Council of Churches in the Philippines (NCCP), Maragisan had a hand in opening two safe havens for women: the \u003ca href=\"http://www.genuinesecurity.org/partners/buklod.htm\">Buklod Center in Olongapo City\u003c/a>, geared towards sex workers, and the \u003ca href=\"https://batiscenterforwomen.wordpress.com/about/history/\">Batis Center for Women\u003c/a> in Quezon City, which focused on female migrant workers.\u003c/p>\n\u003cp>Marasigan finally came back to the Bay in 1988 and, though there was no Manilatown to return to, went straight back to work for Filipino immigrants. She worked as a social worker at \u003ca href=\"https://www.somapilipinas.org/community-1/2018/7/13/west-bay-pilipino-multi-service-center\">West Bay Filipino Multi-Services\u003c/a>, \u003ca href=\"https://www.healthright360.org/parent-program/asian-american-recovery-services/\">Asian American Recovery Services\u003c/a> and the Veterans Equity Center (now known as the \u003ca href=\"https://asianpacificfund.org/affiliate/veterans-equity-center-2/\">Bayanihan Equity Center\u003c/a>).\u003c/p>\n\u003cp>Throughout the 1990s, while based in Daly City, Marasigan remained focused on seniors and veterans, setting up food and clothing banks at two separate Mission Street locations. In 1993, she co-founded the Friends of Filipino American Veterans to conduct “direct action, legal aid, advocacy and outreach programs for the veterans.” In 1994, she was president of the Filipino American Human Rights Advocates. Around this time, the editor in chief of \u003ca href=\"https://en.wikipedia.org/wiki/Filipinas_(magazine)\">\u003cem>Filipinas\u003c/em> magazine\u003c/a> Rene Ciria-Cruz called Marasigan “old reliable,” and noted: “She’s a symbol of activism. When she’s there it lends a validity to the cause being taken up.”\u003c/p>\n\u003cp>Marasigan broadened her focus even further in the ’90s, working more with children and teens — a natural progression, after she’d raised four daughters and a son of her own.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>", "attributes": { "named": {}, "numeric": [] } }, { "type": "component", "content": "", "name": "aside", "attributes": { "named": { "postid": "arts_13921886", "label": "" }, "numeric": [] } }, { "type": "contentString", "content": "\u003cdiv class=\"post-body\">\u003cp>In 1995, Marasigan volunteered with the Bilingual Advisory Council of Balboa Park’s \u003ca href=\"https://www.sfusd.edu/school/james-denman-middle-school\">James Denman Middle School\u003c/a>, was a member of the School Advisory Council and actively worked with teens on AIDS prevention. An article in the \u003cem>San Francisco Examiner\u003c/em> that year reported that she was prone to bluntly asking the teens at the West Bay Filipino Center on Mission St. if they were sexually active.\u003c/p>\n\u003cp>“If they cannot say ‘no’ right away,” she explained, “I grab their hand and say ‘Talk to me.’ I’m straight with them. I answer their questions and I don’t get embarrassed.”\u003c/p>\n\u003cp>Marasigan wasn’t afraid to enter a classroom and tell kids something they’d never heard before — be it about safe sex or their own history.\u003c/p>\n\u003cp>“In the curriculum,” she said at the time, “there is no cultural empowerment of other groups. Last week, we had a support group at Balboa, and we showed them Filipino history in America, and they were so surprised … How could our children have self-esteem in school when they don’t see they are part of the history of America?”\u003c/p>\n\u003cp>Sadly, Marasigan’s life of service was suddenly cut short by an accident in April 2000. She had just gotten out of her parked car when it rolled down the street, knocking her to the ground. She was 61.\u003c/p>\n\u003cp>At a \u003ca href=\"https://www.sfgate.com/bayarea/article/Memorial-Service-Held-at-City-Hall-For-Activist-2784544.php\">packed memorial service\u003c/a> for her at San Francisco’s City Hall, tributes poured in from Mayor Willie Brown, several supervisors (including Tom Ammiano and Mabel Teng) and a plethora of friends and associates. Supervisor Leland Yee didn’t mince words.\u003c/p>\n\u003cp>“Anyone with the name ‘Bullet,’ you don’t want to mess around with,” Yee said. “When you lose someone like that, you lose part of your soul.”\u003c/p>\n\u003cp>One of Marasigan’s final triumphs in life was successfully fighting to re-open the \u003ca href=\"https://www.galingbata.org/\">Filipino Education Center\u003c/a> — a bilingual school and daycare for immigrant children. She believed this was an essential grounding place that would enable future generations of Filipinos to thrive in the Bay.\u003c/p>\n\u003cp>“When we’re gone,” she explained in 1995, “the work will continue.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>", "attributes": { "named": {}, "numeric": [] } }, { "type": "component", "content": "", "name": "ad", "attributes": { "named": { "label": "floatright" }, "numeric": [ "floatright" ] } }, { "type": "contentString", "content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>To learn about other Rebel Girls from Bay Area History, visit the \u003ca href=\"https://www.kqed.org/rebelgirls\" target=\"_blank\" rel=\"noopener noreferrer\">Rebel Girls homepage\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>", "attributes": { "named": {}, "numeric": [] } } ], "link": "/arts/13964200/violeta-marasigan-bullet-filipina-activist-ihotel-manilatown-san-francisco-marcos", "authors": [ "11242" ], "series": [ "arts_22303" ], "categories": [ "arts_1", "arts_7862" ], "tags": [ "arts_10278", "arts_1176", "arts_21841" ], "featImg": "arts_13966685", "label": "arts_22303" }, "arts_13959726": { "type": "posts", "id": "arts_13959726", "meta": { "index": "posts_1716263798", "site": "arts", "id": "13959726", "score": null, "sort": [ 1725474738000 ] }, "guestAuthors": [], "slug": "vicki-starr-transgender-topless-dancer-san-francisco-lgbtq-prison-reform", "title": "The Transgender Topless Dancer Who Went to War with Prison Authorities", "publishDate": 1725474738, "format": "standard", "headTitle": "The Transgender Topless Dancer Who Went to War with Prison Authorities | KQED", "labelTerm": { "term": 22303, "site": "arts" }, "content": "\u003cp>In 1964, after \u003ca href=\"https://www.kqed.org/arts/13953248/topless-at-the-condor-movie-review-carol-doda-documentary-north-beach-history\">Carol Doda danced topless at The Condor\u003c/a> for the first time, nightclubs across San Francisco’s North Beach erupted into a \u003ca href=\"https://www.kqed.org/arts/13958719/who-was-yvonne-dangers-1960s-topless-north-beach-star-deportation\">topless frenzy\u003c/a>. Topless bands, topless clothing stores and even a topless shoe shine all opened in quick succession. But one of the most sensational acts of the time came courtesy of Vicki “Starr” Fernandez, a beautiful transgender woman.\u003c/p>\n\u003cp>[aside postid='arts_13959375']Born in Puerto Rico in 1932, Fernandez ran away to America aged just 14, so that she might live a freer, more authentic life. “As a child,” she told the Bakersfield Californian in 1968, “I was more feminine and pretty than the girls in our school … When I was a teenager, my looks and behavior became an embarrassment to my family. The other kids started making really vicious remarks to me … [In] the States, at least I can dress and act as I please without hurting myself or my family.”\u003c/p>\n\u003cp>Fernandez danced all over North Beach at clubs including Finnochio’s, El Cid, Pierre’s, Mr. D’s and Coke’s. At the Follies Burlesque, Fernandez participated in the “Battle of the Sexes” — a dance-off in which cis women went head-to-head with trans women and drag queens. (The point was that the audience could rarely tell who was who.) Fernandez was frequently billed as “Mister” (or “Mr.”) Vicki Starr, sensationalizing her trans-ness as a way to maximize audience numbers. This kind of publicity undoubtedly carried major risks for her personal safety and legal standing. Still, she boldly and diligently carried on performing, never shying away from talking about her gender identity.\u003c/p>\n\u003cfigure id=\"attachment_13959772\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959772\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/20240606_134527-scaled.jpg\" alt=\"A nightclub poster featuring two women, one glamorously made-up, the other standing topless, her back turned to the camera.\" width=\"2560\" height=\"1984\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/20240606_134527-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/20240606_134527-800x620.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/20240606_134527-1020x790.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/20240606_134527-160x124.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/20240606_134527-768x595.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/20240606_134527-1536x1190.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/20240606_134527-2048x1587.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/20240606_134527-1920x1488.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">A poster from Coke’s advertising performances by Vicki Starr and Roxanne Alegria with the declaration that: ‘Boys will be girls.’ \u003ccite>(Courtesy of the GLBT Historical Society)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 1967, Fernandez told \u003cem>San Francisco Chronicle\u003c/em> columnist Merla Zellerbach that she was “working for one reason — to earn money to pay for the conversion operation. As soon as it’s finished, my fiancé and I will get married, possibly adopt children and settle down quietly.” What Fernandez craved, she told the reporter, was “a normal life as a woman.” She was entirely unwilling to give up on that dream, no matter the hurdles in her path. Though Fernandez enjoyed the limelight and relished every opportunity to be her most glamorous self, the nightclubs that made her famous were in many ways merely a means of survival.\u003c/p>\n\u003ch2>Standing up for herself\u003c/h2>\n\u003cp>Fernandez spent much of her life kicking against social and institutional prejudice. From the time she arrived in San Francisco, Fernandez unabashedly lived every moment as the woman that she was. She was a fashionista, always clad in the most elegant styles of the day. She attracted a large, loving and very diverse friend group. She was politically active, keeping files of political pamphlets at home from the likes of George Moscone and Willie Brown, and voting for Harvey Milk when he was a candidate for the Board of Supervisors. Throughout her life, she stood up for and fiercely defended her rights as a woman.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>One of the biggest battles of Fernandez’s life started in 1971, when Fernandez’s longterm partner Richard Smith was convicted of homicide and incarcerated. It was far from the domestic bliss she had once envisioned for herself and, making matters worse, she soon found herself restricted from visiting Smith because of her gender identity.\u003c/p>\n\u003cp>One correspondence from the California Men’s Colony in San Luis Obispo reflects the hostile policies of the era:\u003c/p>\n\u003cblockquote>\u003cp>Ms. Fernandez remains biologically a male. Accordingly, until such time as a sex change operation is completed, and other approval to visit has been granted, Ms. Fernandez would be expected to enter the institution in male attire and utilize the male rest room.\u003c/p>\u003c/blockquote>\n\u003cp>To Fernandez, these parameters were unacceptable. She quickly sought out the assistance of the San Francisco Neighborhood Legal Assistance Foundation (SFNLAF), and together they went about becoming a thorn in the side of the California Department of Corrections. They started with letters to the California State Prison Solano, in which Smith was originally held, then moved on to the prison in San Luis Obispo, where he was moved in 1974. That year, one letter to its director Raymond Procunier stated:\u003c/p>\n\u003cblockquote>\u003cp>Ms. Fernandez was allowed to visit [Smith] for a period of 9 months without any questions raised. She made no attempt to hide her identity in this time. It was evidently only after Ms. Fernandez was discovered to be a trans-sexual that her visiting privilege was suddenly denied.\u003c/p>\u003c/blockquote>\n\u003cp>For years, Fernandez and the SFNLAF badgered the Department of Corrections to change their stance on Fernandez’s clothing restrictions. And for years, the Department of Corrections tried to brush them off. Fernandez refused to back down. She began actively studying and campaigning for prison reform. She sought advice from the Prisoner’s Union, the American Civil Liberties Union and the Prison Law Collective. She contacted \u003ca href=\"https://www.kqed.org/news/11985739/san-franciscans-honor-glide-church-founder-rev-cecil-williams-at-memorial-ceremony\">Rev. Cecil Williams\u003c/a> of Glide Memorial, knowing he was outspoken on the topic of prison reform. She befriended Daniel Castro, the senior consultant for the select committee on corrections. She became a relentless force — and eventually, her work paid off.\u003c/p>\n\u003cp>In 1975, the San Luis Obispo Men’s Colony finally relented and permitted Fernandez to visit Smith in the clothing of her choosing. Access alone was not enough to silence her. When transphobic treatment reared its head in the visitors’ room, Fernandez made sure to document her displeasure in written complaints. One letter from the SFNLAF to H.L. Shaw, then the outside lieutenant of the San Luis Obispo prison, stated:\u003c/p>\n\u003cblockquote>\u003cp>Ms. Fernandez has been subjected to further abuse which is uncalled for. Her attempts to hold hands and affectionately touch Mr. Smith in the way common between husband and wife has been precluded. Various sergeants under you have offended Ms. Fernandez by carefully policing her hand holding activities.\u003c/p>\u003c/blockquote>\n\u003cp>It never mattered who she was up against, Fernandez was always ready to fight for equal treatment, no matter the venue.\u003c/p>\n\u003ch2>A loving legacy\u003c/h2>\n\u003cp>Though Fernandez’s life was not the easiest, she refused to live meekly or under anyone’s thumb. Proud of her identity, she fought tooth and nail for every scrap of progress she ever made and every shred of happiness she ever found. She was indefatigable when it came to living out loud, no matter who was judging her. But behind closed doors, she was a sensitive and sentimental soul. In the end, it was those traits that formed the foundation of Fernandez’s lasting cultural legacy.\u003c/p>\n\u003cp>[aside postid='arts_13870056']During an era when many of her contemporaries were trying their best to live under the radar and out of sight, Fernandez proudly documented her community in as many ways as she could. In her death, Fernandez left behind a comprehensive goldmine of photographs, flyers and other ephemera that continues to stand as a reflection of the LGBTQ community from the 1950s through the 1980s. These files reflect a joyful and loving community full of beautiful souls who refused to be relegated to the shadows. Now in the care of San Francisco’s GLBT Historical Society, they offer important insight into a woefully under-documented period of time for LGBTQ people.\u003c/p>\n\u003cp>In 1967, bemoaning the many hardships she faced, Fernandez told the \u003cem>Chronicle\u003c/em>: “If I’d been born all girl, none of this would have happened.”\u003c/p>\n\u003cp>While her life would have undoubtedly been less challenging if that was the case, it was Fernandez’s trans-ness that ultimately made her so special — in her nightclub performances, in her legal battles, and in the keepsakes she ultimately left behind. “You have a very peaceful effect on people,” a friend named Susan wrote to Fernandez in the 1970s. “A harmony that lifts them and can heal them.”\u003c/p>\n\u003cp>The personal documents Fernandez left behind will continue to do so long into the future.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>To learn about other Rebel Girls from Bay Area History, visit the \u003ca href=\"https://www.kqed.org/rebelgirls\" target=\"_blank\" rel=\"noopener noreferrer\">Rebel Girls homepage\u003c/a>.\u003c/em>\u003c/p>\n\n", "blocks": [], "excerpt": "Vicki ‘Starr’ Fernandez was a topless dancer who fought tirelessly for her right to be seen as a woman.", "status": "publish", "parent": 0, "modified": 1733445568, "stats": { "hasAudio": false, "hasVideo": false, "hasChartOrMap": false, "iframeSrcs": [], "hasGoogleForm": false, "hasGallery": false, "hasHearkenModule": false, "hasPolis": false, "paragraphCount": 22, "wordCount": 1389 }, "headData": { "title": "Honoring Vicki Starr, the Transgender Nightclub Sensation | KQED", "description": "Vicki ‘Starr’ Fernandez was a topless dancer who fought tirelessly for her right to be seen as a woman.", "ogTitle": "The Transgender Topless Dancer Who Went to War with Prison Authorities", "ogDescription": "", "ogImgId": "", "twTitle": "The Transgender Topless Dancer Who Went to War with Prison Authorities", "twDescription": "", "twImgId": "", "socialTitle": "Honoring Vicki Starr, the Transgender Nightclub Sensation %%page%% %%sep%% KQED", "schema": { "@context": "http://schema.org", "@type": "Article", "headline": "The Transgender Topless Dancer Who Went to War with Prison Authorities", "datePublished": "2024-09-04T11:32:18-07:00", "dateModified": "2024-12-05T16:39:28-08:00", "image": "https://cdn.kqed.org/wp-content/uploads/2020/02/[email protected]" } }, "audioUrl": "https://traffic.omny.fm/d/clips/0af137ef-751e-4b19-a055-aaef00d2d578/ffca7e9f-6831-4[…]f-aaef00f5a073/86637a34-42b5-43b4-983e-b20c0133c236/audio.mp3", "sticky": false, "nprStoryId": "kqed-13959726", "templateType": "standard", "featuredImageType": "standard", "excludeFromSiteSearch": "Include", "articleAge": "0", "path": "/arts/13959726/vicki-starr-transgender-topless-dancer-san-francisco-lgbtq-prison-reform", "audioTrackLength": null, "parsedContent": [ { "type": "contentString", "content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 1964, after \u003ca href=\"https://www.kqed.org/arts/13953248/topless-at-the-condor-movie-review-carol-doda-documentary-north-beach-history\">Carol Doda danced topless at The Condor\u003c/a> for the first time, nightclubs across San Francisco’s North Beach erupted into a \u003ca href=\"https://www.kqed.org/arts/13958719/who-was-yvonne-dangers-1960s-topless-north-beach-star-deportation\">topless frenzy\u003c/a>. Topless bands, topless clothing stores and even a topless shoe shine all opened in quick succession. But one of the most sensational acts of the time came courtesy of Vicki “Starr” Fernandez, a beautiful transgender woman.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>", "attributes": { "named": {}, "numeric": [] } }, { "type": "component", "content": "", "name": "aside", "attributes": { "named": { "postid": "arts_13959375", "label": "" }, "numeric": [] } }, { "type": "contentString", "content": "\u003cdiv class=\"post-body\">\u003cp>Born in Puerto Rico in 1932, Fernandez ran away to America aged just 14, so that she might live a freer, more authentic life. “As a child,” she told the Bakersfield Californian in 1968, “I was more feminine and pretty than the girls in our school … When I was a teenager, my looks and behavior became an embarrassment to my family. The other kids started making really vicious remarks to me … [In] the States, at least I can dress and act as I please without hurting myself or my family.”\u003c/p>\n\u003cp>Fernandez danced all over North Beach at clubs including Finnochio’s, El Cid, Pierre’s, Mr. D’s and Coke’s. At the Follies Burlesque, Fernandez participated in the “Battle of the Sexes” — a dance-off in which cis women went head-to-head with trans women and drag queens. (The point was that the audience could rarely tell who was who.) Fernandez was frequently billed as “Mister” (or “Mr.”) Vicki Starr, sensationalizing her trans-ness as a way to maximize audience numbers. This kind of publicity undoubtedly carried major risks for her personal safety and legal standing. Still, she boldly and diligently carried on performing, never shying away from talking about her gender identity.\u003c/p>\n\u003cfigure id=\"attachment_13959772\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959772\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/20240606_134527-scaled.jpg\" alt=\"A nightclub poster featuring two women, one glamorously made-up, the other standing topless, her back turned to the camera.\" width=\"2560\" height=\"1984\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/20240606_134527-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/20240606_134527-800x620.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/20240606_134527-1020x790.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/20240606_134527-160x124.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/20240606_134527-768x595.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/20240606_134527-1536x1190.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/20240606_134527-2048x1587.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/20240606_134527-1920x1488.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">A poster from Coke’s advertising performances by Vicki Starr and Roxanne Alegria with the declaration that: ‘Boys will be girls.’ \u003ccite>(Courtesy of the GLBT Historical Society)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 1967, Fernandez told \u003cem>San Francisco Chronicle\u003c/em> columnist Merla Zellerbach that she was “working for one reason — to earn money to pay for the conversion operation. As soon as it’s finished, my fiancé and I will get married, possibly adopt children and settle down quietly.” What Fernandez craved, she told the reporter, was “a normal life as a woman.” She was entirely unwilling to give up on that dream, no matter the hurdles in her path. Though Fernandez enjoyed the limelight and relished every opportunity to be her most glamorous self, the nightclubs that made her famous were in many ways merely a means of survival.\u003c/p>\n\u003ch2>Standing up for herself\u003c/h2>\n\u003cp>Fernandez spent much of her life kicking against social and institutional prejudice. From the time she arrived in San Francisco, Fernandez unabashedly lived every moment as the woman that she was. She was a fashionista, always clad in the most elegant styles of the day. She attracted a large, loving and very diverse friend group. She was politically active, keeping files of political pamphlets at home from the likes of George Moscone and Willie Brown, and voting for Harvey Milk when he was a candidate for the Board of Supervisors. Throughout her life, she stood up for and fiercely defended her rights as a woman.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>", "attributes": { "named": {}, "numeric": [] } }, { "type": "component", "content": "", "name": "ad", "attributes": { "named": { "label": "fullwidth" }, "numeric": [ "fullwidth" ] } }, { "type": "contentString", "content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>One of the biggest battles of Fernandez’s life started in 1971, when Fernandez’s longterm partner Richard Smith was convicted of homicide and incarcerated. It was far from the domestic bliss she had once envisioned for herself and, making matters worse, she soon found herself restricted from visiting Smith because of her gender identity.\u003c/p>\n\u003cp>One correspondence from the California Men’s Colony in San Luis Obispo reflects the hostile policies of the era:\u003c/p>\n\u003cblockquote>\u003cp>Ms. Fernandez remains biologically a male. Accordingly, until such time as a sex change operation is completed, and other approval to visit has been granted, Ms. Fernandez would be expected to enter the institution in male attire and utilize the male rest room.\u003c/p>\u003c/blockquote>\n\u003cp>To Fernandez, these parameters were unacceptable. She quickly sought out the assistance of the San Francisco Neighborhood Legal Assistance Foundation (SFNLAF), and together they went about becoming a thorn in the side of the California Department of Corrections. They started with letters to the California State Prison Solano, in which Smith was originally held, then moved on to the prison in San Luis Obispo, where he was moved in 1974. That year, one letter to its director Raymond Procunier stated:\u003c/p>\n\u003cblockquote>\u003cp>Ms. Fernandez was allowed to visit [Smith] for a period of 9 months without any questions raised. She made no attempt to hide her identity in this time. It was evidently only after Ms. Fernandez was discovered to be a trans-sexual that her visiting privilege was suddenly denied.\u003c/p>\u003c/blockquote>\n\u003cp>For years, Fernandez and the SFNLAF badgered the Department of Corrections to change their stance on Fernandez’s clothing restrictions. And for years, the Department of Corrections tried to brush them off. Fernandez refused to back down. She began actively studying and campaigning for prison reform. She sought advice from the Prisoner’s Union, the American Civil Liberties Union and the Prison Law Collective. She contacted \u003ca href=\"https://www.kqed.org/news/11985739/san-franciscans-honor-glide-church-founder-rev-cecil-williams-at-memorial-ceremony\">Rev. Cecil Williams\u003c/a> of Glide Memorial, knowing he was outspoken on the topic of prison reform. She befriended Daniel Castro, the senior consultant for the select committee on corrections. She became a relentless force — and eventually, her work paid off.\u003c/p>\n\u003cp>In 1975, the San Luis Obispo Men’s Colony finally relented and permitted Fernandez to visit Smith in the clothing of her choosing. Access alone was not enough to silence her. When transphobic treatment reared its head in the visitors’ room, Fernandez made sure to document her displeasure in written complaints. One letter from the SFNLAF to H.L. Shaw, then the outside lieutenant of the San Luis Obispo prison, stated:\u003c/p>\n\u003cblockquote>\u003cp>Ms. Fernandez has been subjected to further abuse which is uncalled for. Her attempts to hold hands and affectionately touch Mr. Smith in the way common between husband and wife has been precluded. Various sergeants under you have offended Ms. Fernandez by carefully policing her hand holding activities.\u003c/p>\u003c/blockquote>\n\u003cp>It never mattered who she was up against, Fernandez was always ready to fight for equal treatment, no matter the venue.\u003c/p>\n\u003ch2>A loving legacy\u003c/h2>\n\u003cp>Though Fernandez’s life was not the easiest, she refused to live meekly or under anyone’s thumb. Proud of her identity, she fought tooth and nail for every scrap of progress she ever made and every shred of happiness she ever found. She was indefatigable when it came to living out loud, no matter who was judging her. But behind closed doors, she was a sensitive and sentimental soul. In the end, it was those traits that formed the foundation of Fernandez’s lasting cultural legacy.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>", "attributes": { "named": {}, "numeric": [] } }, { "type": "component", "content": "", "name": "aside", "attributes": { "named": { "postid": "arts_13870056", "label": "" }, "numeric": [] } }, { "type": "contentString", "content": "\u003cdiv class=\"post-body\">\u003cp>During an era when many of her contemporaries were trying their best to live under the radar and out of sight, Fernandez proudly documented her community in as many ways as she could. In her death, Fernandez left behind a comprehensive goldmine of photographs, flyers and other ephemera that continues to stand as a reflection of the LGBTQ community from the 1950s through the 1980s. These files reflect a joyful and loving community full of beautiful souls who refused to be relegated to the shadows. Now in the care of San Francisco’s GLBT Historical Society, they offer important insight into a woefully under-documented period of time for LGBTQ people.\u003c/p>\n\u003cp>In 1967, bemoaning the many hardships she faced, Fernandez told the \u003cem>Chronicle\u003c/em>: “If I’d been born all girl, none of this would have happened.”\u003c/p>\n\u003cp>While her life would have undoubtedly been less challenging if that was the case, it was Fernandez’s trans-ness that ultimately made her so special — in her nightclub performances, in her legal battles, and in the keepsakes she ultimately left behind. “You have a very peaceful effect on people,” a friend named Susan wrote to Fernandez in the 1970s. “A harmony that lifts them and can heal them.”\u003c/p>\n\u003cp>The personal documents Fernandez left behind will continue to do so long into the future.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>", "attributes": { "named": {}, "numeric": [] } }, { "type": "component", "content": "", "name": "ad", "attributes": { "named": { "label": "floatright" }, "numeric": [ "floatright" ] } }, { "type": "contentString", "content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>To learn about other Rebel Girls from Bay Area History, visit the \u003ca href=\"https://www.kqed.org/rebelgirls\" target=\"_blank\" rel=\"noopener noreferrer\">Rebel Girls homepage\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>", "attributes": { "named": {}, "numeric": [] } } ], "link": "/arts/13959726/vicki-starr-transgender-topless-dancer-san-francisco-lgbtq-prison-reform", "authors": [ "11242" ], "series": [ "arts_22303" ], "categories": [ "arts_1", "arts_7862", "arts_75" ], "tags": [ "arts_10278", "arts_1962", "arts_5747", "arts_3226", "arts_21841" ], "featImg": "arts_13963471", "label": "arts_22303" }, "arts_13972343": { "type": "posts", "id": "arts_13972343", "meta": { "index": "posts_1716263798", "site": "arts", "id": "13972343", "score": null, "sort": [ 1740603436000 ] }, "guestAuthors": [], "slug": "michelle-trachtenberg-dead-at-39-buffy-harriet-the-spy", "title": "Michelle Trachtenberg, ‘Buffy the Vampire Slayer’ and ‘Harriet the Spy’ Star, Dies at 39", "publishDate": 1740603436, "format": "standard", "headTitle": "Michelle Trachtenberg, ‘Buffy the Vampire Slayer’ and ‘Harriet the Spy’ Star, Dies at 39 | KQED", "labelTerm": { "site": "arts" }, "content": "\u003cp>Michelle Trachtenberg, a former child star who appeared in the 1996 \u003cem>Harriet the Spy\u003c/em> hit movie and went on to co-star in two buzzy millennial-era TV shows — \u003cem>Buffy the Vampire Slayer\u003c/em> and \u003cem>Gossip Girl\u003c/em> — has died. She was 39.\u003c/p>\n\u003cp>Police responded to a 911 call shortly after 8 a.m. on Wednesday, Feb. 26 at a 51-story luxury apartment tower in Manhattan’s Hell’s Kitchen neighborhood where officers found Trachtenberg “unconscious and unresponsive,” according to an NYPD statement.\u003c/p>\n\u003cp>Paramedics pronounced her dead at the scene. No foul play was suspected and the New York Medical Examiner is investigating the cause of death, police said.\u003c/p>\n\u003cp>“The family requests privacy for their loss,” Trachtenberg’s representative, Gary Mantoosh, said in a statement Wednesday.\u003c/p>\n\u003cp>Trachtenberg was 8 when she began playing Nona Mecklenberg on Nickelodeon’s \u003cem>The Adventures of Pete & Pete\u003c/em> from 1994 to 1996 and then starred in the title role in the film adaptations of \u003cem>Harriet the Spy\u003c/em> and \u003cem>Inspector Gadget\u003c/em>, opposite Matthew Broderick.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Michelle comes off as genuine because she really is a genuine kid. Everyone can identify with her,” said Debby Beece, president of Nickelodeon Movies in 1996.\u003c/p>\n\u003cp>[aside postID='arts_13972215']In 2000 Trachtenberg joined the cast of \u003cem>Buffy\u003c/em>, playing Dawn Summers, the younger sister of the title character played by Sarah Michelle Gellar between 2000 and 2003.\u003c/p>\n\u003cp>Trachtenberg thanked Gellar for speaking out against Joss Whedon in 2021, following abuse allegations made against the \u003cem>Buffy\u003c/em> showrunner. “I am brave enough now as a 35-year-old woman to repost this,” she wrote on social media, and alluded to “his not appropriate behavior” she experienced as a teenage actor.\u003c/p>\n\u003cp>In 2001, she received a Daytime Emmy nomination for hosting Discovery’s \u003cem>Truth or Scare\u003c/em>. Trachtenberg went on to recurring roles on \u003cem>Six Feet Under\u003c/em>, \u003cem>Weeds\u003c/em> and \u003cem>Gossip Girl\u003c/em>, where she played the gang’s scheming nemesis, Georgina Sparks.\u003c/p>\n\u003cp>For her fan-favorite role, she was nominated as a TV villain at the Teen Choice Award in 2012. “It’s definitely a lot more fun than playing the good girl,” she told Seventeen in 2009. “I love the reaction you get. I never understood why some actors don’t want to play villains or evil characters.”\u003c/p>\n\u003cp>She was one of the original series’ stars to return for a pair of guest appearances in the 2021 \u003cem>Gossip Girl\u003c/em> revival.\u003c/p>\n\u003cp>As if to cement herself in millennial culture, Trachtenberg made a cameo in Fall Out Boy’s music video for the “This Ain’t a Scene, It’s an Arms Race” alongside Seth Green.\u003c/p>\n\u003cp>[aside postID='pop_186']Her other credits included \u003cem>Ice Princess\u003c/em> in 2005, playing a math prodigy and aspiring figure skater. The AP said it had “a good, though feeble, heart and the best of intentions” and said Trachtenberg was “mining the same nervous twitter from her kid-sister days on \u003cem>Buffy the Vampire Slayer\u003c/em>.”\u003c/p>\n\u003cp>The New York City-born Trachtenberg also appeared in the 2004 teen sex comedy \u003cem>EuroTrip\u003c/em>, she co-starred with Zac Efron and Leslie Mann in 2009’s \u003cem>17 Again\u003c/em> and played murderous stalker and abductor on an episode of \u003cem>Criminal Minds\u003c/em>.\u003c/p>\n\u003cp>For \u003cem>Killing Kennedy\u003c/em>, the 2013 film in which she played the wife of Lee Harvey Oswald, around 80% of Trachtenberg’s dialogue was in Russian. She had learned the language from her mother growing up.\u003c/p>\n\u003cp>Other credits included supporting roles in the films \u003cem>Mysterious Skin\u003c/em> in 2004 and \u003cem>Black Christmas\u003c/em> in 2006. She also starred on the NBC medical series \u003cem>Mercy\u003c/em> (2009–2010) opposite Taylor Schilling. More recently, she hosted the true-crime docuseries \u003cem>Meet, Marry, Murder\u003c/em> on Tubi.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Associated Press Writer Michael R. Sisak contributed to this report.\u003c/em>\u003c/p>\n\n", "blocks": [], "excerpt": "Trachtenberg was found unresponsive by New York City police at a high-rise building in Manhattan.", "status": "publish", "parent": 0, "modified": 1740608885, "stats": { "hasAudio": false, "hasVideo": false, "hasChartOrMap": false, "iframeSrcs": [], "hasGoogleForm": false, "hasGallery": false, "hasHearkenModule": false, "hasPolis": false, "paragraphCount": 19, "wordCount": 649 }, "headData": { "title": "Michelle Trachtenberg, ‘Buffy the Vampire Slayer’ and ‘Harriet the Spy’ Star, Dies at 39 | KQED", "description": "Trachtenberg was found unresponsive by New York City police at a high-rise building in Manhattan.", "ogTitle": "", "ogDescription": "", "ogImgId": "", "twTitle": "", "twDescription": "", "twImgId": "", "schema": { "@context": "http://schema.org", "@type": "Article", "headline": "Michelle Trachtenberg, ‘Buffy the Vampire Slayer’ and ‘Harriet the Spy’ Star, Dies at 39", "datePublished": "2025-02-26T12:57:16-08:00", "dateModified": "2025-02-26T14:28:05-08:00", "image": "https://cdn.kqed.org/wp-content/uploads/2020/02/[email protected]" } }, "sticky": false, "nprByline": "Mark Kennedy, Associated Press", "nprStoryId": "kqed-13972343", "templateType": "standard", "featuredImageType": "standard", "excludeFromSiteSearch": "Include", "showOnAuthorArchivePages": "No", "articleAge": "0", "path": "/arts/13972343/michelle-trachtenberg-dead-at-39-buffy-harriet-the-spy", "audioTrackLength": null, "parsedContent": [ { "type": "contentString", "content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Michelle Trachtenberg, a former child star who appeared in the 1996 \u003cem>Harriet the Spy\u003c/em> hit movie and went on to co-star in two buzzy millennial-era TV shows — \u003cem>Buffy the Vampire Slayer\u003c/em> and \u003cem>Gossip Girl\u003c/em> — has died. She was 39.\u003c/p>\n\u003cp>Police responded to a 911 call shortly after 8 a.m. on Wednesday, Feb. 26 at a 51-story luxury apartment tower in Manhattan’s Hell’s Kitchen neighborhood where officers found Trachtenberg “unconscious and unresponsive,” according to an NYPD statement.\u003c/p>\n\u003cp>Paramedics pronounced her dead at the scene. No foul play was suspected and the New York Medical Examiner is investigating the cause of death, police said.\u003c/p>\n\u003cp>“The family requests privacy for their loss,” Trachtenberg’s representative, Gary Mantoosh, said in a statement Wednesday.\u003c/p>\n\u003cp>Trachtenberg was 8 when she began playing Nona Mecklenberg on Nickelodeon’s \u003cem>The Adventures of Pete & Pete\u003c/em> from 1994 to 1996 and then starred in the title role in the film adaptations of \u003cem>Harriet the Spy\u003c/em> and \u003cem>Inspector Gadget\u003c/em>, opposite Matthew Broderick.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>", "attributes": { "named": {}, "numeric": [] } }, { "type": "component", "content": "", "name": "ad", "attributes": { "named": { "label": "fullwidth" }, "numeric": [ "fullwidth" ] } }, { "type": "contentString", "content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Michelle comes off as genuine because she really is a genuine kid. Everyone can identify with her,” said Debby Beece, president of Nickelodeon Movies in 1996.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>", "attributes": { "named": {}, "numeric": [] } }, { "type": "component", "content": "", "name": "aside", "attributes": { "named": { "postid": "arts_13972215", "label": "" }, "numeric": [] } }, { "type": "contentString", "content": "\u003cdiv class=\"post-body\">\u003cp>In 2000 Trachtenberg joined the cast of \u003cem>Buffy\u003c/em>, playing Dawn Summers, the younger sister of the title character played by Sarah Michelle Gellar between 2000 and 2003.\u003c/p>\n\u003cp>Trachtenberg thanked Gellar for speaking out against Joss Whedon in 2021, following abuse allegations made against the \u003cem>Buffy\u003c/em> showrunner. “I am brave enough now as a 35-year-old woman to repost this,” she wrote on social media, and alluded to “his not appropriate behavior” she experienced as a teenage actor.\u003c/p>\n\u003cp>In 2001, she received a Daytime Emmy nomination for hosting Discovery’s \u003cem>Truth or Scare\u003c/em>. Trachtenberg went on to recurring roles on \u003cem>Six Feet Under\u003c/em>, \u003cem>Weeds\u003c/em> and \u003cem>Gossip Girl\u003c/em>, where she played the gang’s scheming nemesis, Georgina Sparks.\u003c/p>\n\u003cp>For her fan-favorite role, she was nominated as a TV villain at the Teen Choice Award in 2012. “It’s definitely a lot more fun than playing the good girl,” she told Seventeen in 2009. “I love the reaction you get. I never understood why some actors don’t want to play villains or evil characters.”\u003c/p>\n\u003cp>She was one of the original series’ stars to return for a pair of guest appearances in the 2021 \u003cem>Gossip Girl\u003c/em> revival.\u003c/p>\n\u003cp>As if to cement herself in millennial culture, Trachtenberg made a cameo in Fall Out Boy’s music video for the “This Ain’t a Scene, It’s an Arms Race” alongside Seth Green.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>", "attributes": { "named": {}, "numeric": [] } }, { "type": "component", "content": "", "name": "aside", "attributes": { "named": { "postid": "pop_186", "label": "" }, "numeric": [] } }, { "type": "contentString", "content": "\u003cdiv class=\"post-body\">\u003cp>Her other credits included \u003cem>Ice Princess\u003c/em> in 2005, playing a math prodigy and aspiring figure skater. The AP said it had “a good, though feeble, heart and the best of intentions” and said Trachtenberg was “mining the same nervous twitter from her kid-sister days on \u003cem>Buffy the Vampire Slayer\u003c/em>.”\u003c/p>\n\u003cp>The New York City-born Trachtenberg also appeared in the 2004 teen sex comedy \u003cem>EuroTrip\u003c/em>, she co-starred with Zac Efron and Leslie Mann in 2009’s \u003cem>17 Again\u003c/em> and played murderous stalker and abductor on an episode of \u003cem>Criminal Minds\u003c/em>.\u003c/p>\n\u003cp>For \u003cem>Killing Kennedy\u003c/em>, the 2013 film in which she played the wife of Lee Harvey Oswald, around 80% of Trachtenberg’s dialogue was in Russian. She had learned the language from her mother growing up.\u003c/p>\n\u003cp>Other credits included supporting roles in the films \u003cem>Mysterious Skin\u003c/em> in 2004 and \u003cem>Black Christmas\u003c/em> in 2006. She also starred on the NBC medical series \u003cem>Mercy\u003c/em> (2009–2010) opposite Taylor Schilling. More recently, she hosted the true-crime docuseries \u003cem>Meet, Marry, Murder\u003c/em> on Tubi.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Associated Press Writer Michael R. Sisak contributed to this report.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>", "attributes": { "named": {}, "numeric": [] } } ], "link": "/arts/13972343/michelle-trachtenberg-dead-at-39-buffy-harriet-the-spy", "authors": [ "byline_arts_13972343" ], "categories": [ "arts_1", "arts_74", "arts_1564", "arts_990" ], "tags": [ "arts_1091", "arts_21789" ], "featImg": "arts_13972344", "label": "arts" } }, "programsReducer": { "possible": { "id": "possible", "title": "Possible", "info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.", "airtime": "SUN 2pm", "imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg", "officialWebsiteLink": "https://www.possible.fm/", "meta": { "site": "news", "source": "Possible" }, "link": "/radio/program/possible", "subscribe": { "apple": "https://podcasts.apple.com/us/podcast/possible/id1677184070", "spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k" } }, "1a": { "id": "1a", "title": "1A", "info": "1A is home to the national conversation. 1A brings on great guests and frames the best debate in ways that make you think, share and engage.", "airtime": "MON-THU 11pm-12am", "imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/1a.jpg", "officialWebsiteLink": "https://the1a.org/", "meta": { "site": "news", "source": "npr" }, "link": "/radio/program/1a", "subscribe": { "npr": "https://rpb3r.app.goo.gl/RBrW", "apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=1188724250&at=11l79Y&ct=nprdirectory", "tuneIn": "https://tunein.com/radio/1A-p947376/", "rss": "https://feeds.npr.org/510316/podcast.xml" } }, "all-things-considered": { "id": "all-things-considered", "title": "All Things Considered", "info": "Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. Michel Martin hosts on the weekends.", "airtime": "MON-FRI 1pm-2pm, 4:30pm-6:30pm\u003cbr />SAT-SUN 5pm-6pm", "imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/All-Things-Considered-Podcast-Tile-360x360-1.jpg", "officialWebsiteLink": "https://www.npr.org/programs/all-things-considered/", "meta": { "site": "news", "source": "npr" }, "link": "/radio/program/all-things-considered" }, "american-suburb-podcast": { "id": "american-suburb-podcast", "title": "American Suburb: The Podcast", "tagline": "The flip side of gentrification, told through one town", "info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?", "imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg", "officialWebsiteLink": "/news/series/american-suburb-podcast", "meta": { "site": "news", "source": "kqed", "order": 18 }, "link": "/news/series/american-suburb-podcast/", "subscribe": { "npr": "https://rpb3r.app.goo.gl/RBrW", "apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328", "tuneIn": "https://tunein.com/radio/American-Suburb-p1086805/", "rss": "https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast", "google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5" } }, "baycurious": { "id": "baycurious", "title": "Bay Curious", "tagline": "Exploring the Bay Area, one question at a time", "info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.", "imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg", "imageAlt": "\"KQED Bay Curious", "officialWebsiteLink": "/news/series/baycurious", "meta": { "site": "news", "source": "kqed", "order": 3 }, "link": "/podcasts/baycurious", "subscribe": { "apple": "https://podcasts.apple.com/us/podcast/bay-curious/id1172473406", "npr": "https://www.npr.org/podcasts/500557090/bay-curious", "rss": "https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast", "google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvbmV3cy9jYXRlZ29yeS9iYXktY3VyaW91cy1wb2RjYXN0L2ZlZWQvcG9kY2FzdA", "stitcher": "https://www.stitcher.com/podcast/kqed/bay-curious", "spotify": "https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k" } }, "bbc-world-service": { "id": "bbc-world-service", "title": "BBC World Service", "info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.", "airtime": "MON-FRI 9pm-10pm, TUE-FRI 1am-2am", "imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg", "officialWebsiteLink": "https://www.bbc.co.uk/sounds/play/live:bbc_world_service", "meta": { "site": "news", "source": "BBC World Service" }, "link": "/radio/program/bbc-world-service", "subscribe": { "apple": "https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2", "tuneIn": "https://tunein.com/radio/BBC-World-Service-p455581/", "rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss" } }, "code-switch-life-kit": { "id": "code-switch-life-kit", "title": "Code Switch / Life Kit", "info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />", "airtime": "SUN 9pm-10pm", "imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg", "meta": { "site": "radio", "source": "npr" }, "link": "/radio/program/code-switch-life-kit", "subscribe": { "apple": "https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory", "google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy", "spotify": "https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV", "rss": "https://feeds.npr.org/510312/podcast.xml" } }, "commonwealth-club": { "id": "commonwealth-club", "title": "Commonwealth Club of California Podcast", "info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.", "airtime": "THU 10pm, FRI 1am", "imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg", "officialWebsiteLink": "https://www.commonwealthclub.org/podcasts", "meta": { "site": "news", "source": "Commonwealth Club of California" }, "link": "/radio/program/commonwealth-club", "subscribe": { "apple": "https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2", "google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw", "tuneIn": "https://tunein.com/radio/Commonwealth-Club-of-California-p1060/" } }, "forum": { "id": "forum", "title": "Forum", "tagline": "The conversation starts here", "info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.", "airtime": "MON-FRI 9am-11am, 10pm-11pm", "imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg", "imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal", "officialWebsiteLink": "/forum", "meta": { "site": "news", "source": "kqed", "order": 9 }, "link": "/forum", "subscribe": { "apple": "https://podcasts.apple.com/us/podcast/kqeds-forum/id73329719", "google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz", "npr": "https://www.npr.org/podcasts/432307980/forum", "stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-forum-podcast", "rss": "https://feeds.megaphone.fm/KQINC9557381633" } }, "freakonomics-radio": { "id": "freakonomics-radio", "title": "Freakonomics Radio", "info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.", "imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png", "officialWebsiteLink": "http://freakonomics.com/", "airtime": "SUN 1am-2am, SAT 3pm-4pm", "meta": { "site": "radio", "source": "WNYC" }, "link": "/radio/program/freakonomics-radio", "subscribe": { "npr": "https://rpb3r.app.goo.gl/4s8b", "apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519", "tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/", "rss": "https://feeds.feedburner.com/freakonomicsradio" } }, "fresh-air": { "id": "fresh-air", "title": "Fresh Air", "info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.", "airtime": "MON-FRI 7pm-8pm", "imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Fresh-Air-Podcast-Tile-360x360-1.jpg", "officialWebsiteLink": "https://www.npr.org/programs/fresh-air/", "meta": { "site": "radio", "source": "npr" }, "link": "/radio/program/fresh-air", "subscribe": { "npr": "https://rpb3r.app.goo.gl/4s8b", "apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory", "tuneIn": "https://tunein.com/radio/Fresh-Air-p17/", "rss": "https://feeds.npr.org/381444908/podcast.xml" } }, "here-and-now": { "id": "here-and-now", "title": "Here & Now", "info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.", "airtime": "MON-THU 11am-12pm", "imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Here-And-Now-Podcast-Tile-360x360-1.jpg", "officialWebsiteLink": "http://www.wbur.org/hereandnow", "meta": { "site": "news", "source": "npr" }, "link": "/radio/program/here-and-now", "subsdcribe": { "apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=426698661", "tuneIn": "https://tunein.com/radio/Here--Now-p211/", "rss": "https://feeds.npr.org/510051/podcast.xml" } }, "how-i-built-this": { "id": "how-i-built-this", "title": "How I Built This with Guy Raz", "info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.", "imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png", "officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this", "airtime": "SUN 7:30pm-8pm", "meta": { "site": "news", "source": "npr" }, "link": "/radio/program/how-i-built-this", "subscribe": { "npr": "https://rpb3r.app.goo.gl/3zxy", "apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2", "tuneIn": "https://tunein.com/podcasts/Arts--Culture-Podcasts/How-I-Built-This-p910896/", "rss": "https://feeds.npr.org/510313/podcast.xml" } }, "inside-europe": { "id": "inside-europe", "title": "Inside Europe", "info": "Inside Europe, a one-hour weekly news magazine hosted by Helen Seeney and Keith Walker, explores the topical issues shaping the continent. No other part of the globe has experienced such dynamic political and social change in recent years.", "airtime": "SAT 3am-4am", "imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Inside-Europe-Podcast-Tile-300x300-1.jpg", "meta": { "site": "news", "source": "Deutsche Welle" }, "link": "/radio/program/inside-europe", "subscribe": { "apple": "https://itunes.apple.com/us/podcast/inside-europe/id80106806?mt=2", "tuneIn": "https://tunein.com/radio/Inside-Europe-p731/", "rss": "https://partner.dw.com/xml/podcast_inside-europe" } }, "latino-usa": { "id": "latino-usa", "title": "Latino USA", "airtime": "MON 1am-2am, SUN 6pm-7pm", "info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.", "imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg", "officialWebsiteLink": "http://latinousa.org/", "meta": { "site": "news", "source": "npr" }, "link": "/radio/program/latino-usa", "subscribe": { "npr": "https://rpb3r.app.goo.gl/xtTd", "apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory", "tuneIn": "https://tunein.com/radio/Latino-USA-p621/", "rss": "https://feeds.npr.org/510016/podcast.xml" } }, "live-from-here-highlights": { "id": "live-from-here-highlights", "title": "Live from Here Highlights", "info": "Chris Thile steps to the mic as the host of Live from Here (formerly A Prairie Home Companion), a live public radio variety show. Download Chris’s Song of the Week plus other highlights from the broadcast. Produced by American Public Media.", "airtime": "SAT 6pm-8pm, SUN 11am-1pm", "imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Live-From-Here-Podcast-Tile-360x360-1.jpg", "officialWebsiteLink": "https://www.livefromhere.org/", "meta": { "site": "arts", "source": "american public media" }, "link": "/radio/program/live-from-here-highlights", "subscribe": { "apple": "https://itunes.apple.com/us/podcast/id1167173941", "tuneIn": "https://tunein.com/radio/Live-from-Here-Highlights-p921744/", "rss": "https://feeds.publicradio.org/public_feeds/a-prairie-home-companion-highlights/rss/rss" } }, "marketplace": { "id": "marketplace", "title": "Marketplace", "info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.", "airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm", "imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg", "officialWebsiteLink": "https://www.marketplace.org/", "meta": { "site": "news", "source": "American Public Media" }, "link": "/radio/program/marketplace", "subscribe": { "apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201853034&at=11l79Y&ct=nprdirectory", "tuneIn": "https://tunein.com/radio/APM-Marketplace-p88/", "rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss" } }, "mindshift": { "id": "mindshift", "title": "MindShift", "tagline": "A podcast about the future of learning and how we raise our kids", "info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>", "imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg", "imageAlt": "KQED MindShift: How We Will Learn", "officialWebsiteLink": "/mindshift/", "meta": { "site": "news", "source": "kqed", "order": 12 }, "link": "/podcasts/mindshift", "subscribe": { "apple": "https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985", "google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5", "npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast", "stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share", "spotify": "https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx" } }, "morning-edition": { "id": "morning-edition", "title": "Morning Edition", "info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.", "airtime": "MON-FRI 3am-9am", "imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg", "officialWebsiteLink": "https://www.npr.org/programs/morning-edition/", "meta": { "site": "news", "source": "npr" }, "link": "/radio/program/morning-edition" }, "onourwatch": { "id": "onourwatch", "title": "On Our Watch", "tagline": "Deeply-reported investigative journalism", "info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?", "imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg", "imageAlt": "On Our Watch from NPR and KQED", "officialWebsiteLink": "/podcasts/onourwatch", "meta": { "site": "news", "source": "kqed", "order": 11 }, "link": "/podcasts/onourwatch", "subscribe": { "apple": "https://podcasts.apple.com/podcast/id1567098962", "google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw", "npr": "https://rpb3r.app.goo.gl/onourwatch", "spotify": "https://open.spotify.com/show/0OLWoyizopu6tY1XiuX70x", "tuneIn": "https://tunein.com/radio/On-Our-Watch-p1436229/", "stitcher": "https://www.stitcher.com/show/on-our-watch", "rss": "https://feeds.npr.org/510360/podcast.xml" } }, "on-the-media": { "id": "on-the-media", "title": "On The Media", "info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us", "airtime": "SUN 2pm-3pm, MON 12am-1am", "imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png", "officialWebsiteLink": "https://www.wnycstudios.org/shows/otm", "meta": { "site": "news", "source": "wnyc" }, "link": "/radio/program/on-the-media", "subscribe": { "apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2", "tuneIn": "https://tunein.com/radio/On-the-Media-p69/", "rss": "http://feeds.wnyc.org/onthemedia" } }, "our-body-politic": { "id": "our-body-politic", "title": "Our Body Politic", "info": "Presented by KQED, KCRW and KPCC, and created and hosted by award-winning journalist Farai Chideya, Our Body Politic is unapologetically centered on reporting on not just how women of color experience the major political events of today, but how they’re impacting those very issues.", "airtime": "SAT 6pm-7pm, SUN 1am-2am", "imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Our-Body-Politic-Podcast-Tile-360x360-1.jpg", "officialWebsiteLink": "https://our-body-politic.simplecast.com/", "meta": { "site": "news", "source": "kcrw" }, "link": "/radio/program/our-body-politic", "subscribe": { "apple": "https://podcasts.apple.com/us/podcast/our-body-politic/id1533069868", "google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5zaW1wbGVjYXN0LmNvbS9feGFQaHMxcw", "spotify": "https://open.spotify.com/show/4ApAiLT1kV153TttWAmqmc", "rss": "https://feeds.simplecast.com/_xaPhs1s", "tuneIn": "https://tunein.com/podcasts/News--Politics-Podcasts/Our-Body-Politic-p1369211/" } }, "pbs-newshour": { "id": "pbs-newshour", "title": "PBS NewsHour", "info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.", "airtime": "MON-FRI 3pm-4pm", "imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg", "officialWebsiteLink": "https://www.pbs.org/newshour/", "meta": { "site": "news", "source": "pbs" }, "link": "/radio/program/pbs-newshour", "subscribe": { "apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2", "tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/", "rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show" } }, "perspectives": { "id": "perspectives", "title": "Perspectives", "tagline": "KQED's series of daily listener commentaries since 1991", "info": "KQED's series of daily listener commentaries since 1991.", "imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Perspectives-Podcast-Tile-703x703-1.jpg", "officialWebsiteLink": "/perspectives/", "meta": { "site": "radio", "source": "kqed", "order": 14 }, "link": "/perspectives", "subscribe": { "apple": "https://podcasts.apple.com/us/podcast/id73801135", "npr": "https://www.npr.org/podcasts/432309616/perspectives", "rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/", "google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw" } }, "planet-money": { "id": "planet-money", "title": "Planet Money", "info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.", "airtime": "SUN 3pm-4pm", "imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg", "officialWebsiteLink": "https://www.npr.org/sections/money/", "meta": { "site": "news", "source": "npr" }, "link": "/radio/program/planet-money", "subscribe": { "npr": "https://rpb3r.app.goo.gl/M4f5", "apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2", "tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/", "rss": "https://feeds.npr.org/510289/podcast.xml" } }, "politicalbreakdown": { "id": "politicalbreakdown", "title": "Political Breakdown", "tagline": "Politics from a personal perspective", "info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.", "airtime": "THU 6:30pm-7pm", "imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg", "imageAlt": "KQED Political Breakdown", "officialWebsiteLink": "/podcasts/politicalbreakdown", "meta": { "site": "radio", "source": "kqed", "order": 5 }, "link": "/podcasts/politicalbreakdown", "subscribe": { "apple": "https://podcasts.apple.com/us/podcast/political-breakdown/id1327641087", "google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5Nzk2MzI2MTEx", "npr": "https://www.npr.org/podcasts/572155894/political-breakdown", "stitcher": "https://www.stitcher.com/podcast/kqed/political-breakdown", "spotify": "https://open.spotify.com/show/07RVyIjIdk2WDuVehvBMoN", "rss": "https://ww2.kqed.org/news/tag/political-breakdown/feed/podcast" } }, "pri-the-world": { "id": "pri-the-world", "title": "PRI's The World: Latest Edition", "info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.", "airtime": "MON-FRI 2pm-3pm", "imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg", "officialWebsiteLink": "https://www.pri.org/programs/the-world", "meta": { "site": "news", "source": "PRI" }, "link": "/radio/program/pri-the-world", "subscribe": { "apple": "https://itunes.apple.com/us/podcast/pris-the-world-latest-edition/id278196007?mt=2", "tuneIn": "https://tunein.com/podcasts/News--Politics-Podcasts/PRIs-The-World-p24/", "rss": "http://feeds.feedburner.com/pri/theworld" } }, "radiolab": { "id": "radiolab", "title": "Radiolab", "info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.", "airtime": "SUN 12am-1am, SAT 2pm-3pm", "imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/radiolab1400.png", "officialWebsiteLink": "https://www.wnycstudios.org/shows/radiolab/", "meta": { "site": "science", "source": "WNYC" }, "link": "/radio/program/radiolab", "subscribe": { "apple": "https://itunes.apple.com/us/podcast/radiolab/id152249110?mt=2", "tuneIn": "https://tunein.com/radio/RadioLab-p68032/", "rss": "https://feeds.wnyc.org/radiolab" } }, "reveal": { "id": "reveal", "title": "Reveal", "info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.", "airtime": "SAT 4pm-5pm", "imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/reveal300px.png", "officialWebsiteLink": "https://www.revealnews.org/episodes/", "meta": { "site": "news", "source": "npr" }, "link": "/radio/program/reveal", "subscribe": { "apple": "https://itunes.apple.com/us/podcast/reveal/id886009669", "tuneIn": "https://tunein.com/radio/Reveal-p679597/", "rss": "http://feeds.revealradio.org/revealpodcast" } }, "says-you": { "id": "says-you", "title": "Says You!", "info": "Public radio's game show of bluff and bluster, words and whimsy. The warmest, wittiest cocktail party - it's spirited and civil, brainy and boisterous, peppered with musical interludes. Fast paced and playful, it's the most fun you can have with language without getting your mouth washed out with soap. Our motto: It's not important to know the answers, it's important to like the answers!", "airtime": "SUN 4pm-5pm", "imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Says-You-Podcast-Tile-360x360-1.jpg", "officialWebsiteLink": "http://www.saysyouradio.com/", "meta": { "site": "comedy", "source": "Pipit and Finch" }, "link": "/radio/program/says-you", "subscribe": { "apple": "https://itunes.apple.com/us/podcast/says-you!/id1050199826", "tuneIn": "https://tunein.com/radio/Says-You-p480/", "rss": "https://saysyou.libsyn.com/rss" } }, "science-friday": { "id": "science-friday", "title": "Science Friday", "info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.", "airtime": "FRI 11am-1pm", "imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Science-Friday-Podcast-Tile-360x360-1.jpg", "officialWebsiteLink": "https://www.wnycstudios.org/shows/science-friday", "meta": { "site": "news", "source": "npr" }, "link": "/radio/program/science-friday", "subscribe": { "apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=73329284&at=11l79Y&ct=nprdirectory", "tuneIn": "https://tunein.com/radio/Science-Friday-p394/", "rss": "http://feeds.wnyc.org/science-friday" } }, "selected-shorts": { "id": "selected-shorts", "title": "Selected Shorts", "info": "Spellbinding short stories by established and emerging writers take on a new life when they are performed by stars of the stage and screen.", "airtime": "SAT 8pm-9pm", "imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Selected-Shorts-Podcast-Tile-360x360-1.jpg", "officialWebsiteLink": "https://www.pri.org/programs/selected-shorts", "meta": { "site": "arts", "source": "pri" }, "link": "/radio/program/selected-shorts", "subscribe": { "apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=253191824&at=11l79Y&ct=nprdirectory", "tuneIn": "https://tunein.com/radio/Selected-Shorts-p31792/", "rss": "https://feeds.megaphone.fm/selectedshorts" } }, "snap-judgment": { "id": "snap-judgment", "title": "Snap Judgment", "tagline": "Real stories with killer beats", "info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.", "airtime": "SAT 1pm-2pm, 9pm-10pm", "imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/05/Snap-Judgment-Podcast-Tile-703x703-1.jpg", "officialWebsiteLink": "https://snapjudgment.org", "meta": { "site": "arts", "source": "kqed", "order": 4 }, "link": "https://snapjudgment.org", "subscribe": { "apple": "https://podcasts.apple.com/us/podcast/snap-judgment/id283657561", "npr": "https://www.npr.org/podcasts/449018144/snap-judgment", "stitcher": "https://www.pandora.com/podcast/snap-judgment/PC:241?source=stitcher-sunset", "spotify": "https://open.spotify.com/show/3Cct7ZWmxHNAtLgBTqjC5v", "rss": "https://snap.feed.snapjudgment.org/" } }, "soldout": { "id": "soldout", "title": "SOLD OUT: Rethinking Housing in America", "tagline": "A new future for housing", "info": "Sold Out: Rethinking Housing in America", "imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Sold-Out-Podcast-Tile-703x703-1.jpg", "imageAlt": "KQED Sold Out: Rethinking Housing in America", "officialWebsiteLink": "/podcasts/soldout", "meta": { "site": "news", "source": "kqed", "order": 13 }, "link": "/podcasts/soldout", "subscribe": { "npr": "https://www.npr.org/podcasts/911586047/s-o-l-d-o-u-t-a-new-future-for-housing", "apple": "https://podcasts.apple.com/us/podcast/introducing-sold-out-rethinking-housing-in-america/id1531354937", "rss": "https://feeds.megaphone.fm/soldout", "spotify": "https://open.spotify.com/show/38dTBSk2ISFoPiyYNoKn1X", "stitcher": "https://www.stitcher.com/podcast/kqed/sold-out-rethinking-housing-in-america", "tunein": "https://tunein.com/radio/SOLD-OUT-Rethinking-Housing-in-America-p1365871/", "google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vc29sZG91dA" } }, "spooked": { "id": "spooked", "title": "Spooked", "tagline": "True-life supernatural stories", "info": "", "imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/10/Spooked-Podcast-Tile-703x703-1.jpg", "imageAlt": "", "officialWebsiteLink": "https://spookedpodcast.org/", "meta": { "site": "news", "source": "kqed", "order": 7 }, "link": "https://spookedpodcast.org/", "subscribe": { "apple": "https://podcasts.apple.com/us/podcast/spooked/id1279361017", "npr": "https://www.npr.org/podcasts/549547848/snap-judgment-presents-spooked", "spotify": "https://open.spotify.com/show/76571Rfl3m7PLJQZKQIGCT", "rss": "https://feeds.simplecast.com/TBotaapn" } }, "ted-radio-hour": { "id": "ted-radio-hour", "title": "TED Radio Hour", "info": "The TED Radio Hour is a journey through fascinating ideas, astonishing inventions, fresh approaches to old problems, and new ways to think and create.", "airtime": "SUN 3pm-4pm, SAT 10pm-11pm", "imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/tedRadioHour.jpg", "officialWebsiteLink": "https://www.npr.org/programs/ted-radio-hour/?showDate=2018-06-22", "meta": { "site": "news", "source": "npr" }, "link": "/radio/program/ted-radio-hour", "subscribe": { "npr": "https://rpb3r.app.goo.gl/8vsS", "apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=523121474&at=11l79Y&ct=nprdirectory", "tuneIn": "https://tunein.com/radio/TED-Radio-Hour-p418021/", "rss": "https://feeds.npr.org/510298/podcast.xml" } }, "tech-nation": { "id": "tech-nation", "title": "Tech Nation Radio Podcast", "info": "Tech Nation is a weekly public radio program, hosted by Dr. Moira Gunn. Founded in 1993, it has grown from a simple interview show to a multi-faceted production, featuring conversations with noted technology and science leaders, and a weekly science and technology-related commentary.", "airtime": "FRI 10pm", "imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Tech-Nation-Radio-Podcast-Tile-360x360-1.jpg", "officialWebsiteLink": "http://technation.podomatic.com/", "meta": { "site": "science", "source": "Tech Nation Media" }, "link": "/radio/program/tech-nation", "subscribe": { "rss": "https://technation.podomatic.com/rss2.xml" } }, "thebay": { "id": "thebay", "title": "The Bay", "tagline": "Local news to keep you rooted", "info": "Host Devin Katayama walks you through the biggest story of the day with reporters and newsmakers.", "imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Bay-Podcast-Tile-703x703-1.jpg", "imageAlt": "KQED The Bay", "officialWebsiteLink": "/podcasts/thebay", "meta": { "site": "radio", "source": "kqed", "order": 2 }, "link": "/podcasts/thebay", "subscribe": { "apple": "https://podcasts.apple.com/us/podcast/the-bay/id1350043452", "google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM4MjU5Nzg2MzI3", "npr": "https://www.npr.org/podcasts/586725995/the-bay", "stitcher": "https://www.stitcher.com/podcast/kqed/the-bay", "spotify": "https://open.spotify.com/show/4BIKBKIujizLHlIlBNaAqQ", "rss": "https://feeds.megaphone.fm/KQINC8259786327" } }, "californiareport": { "id": "californiareport", "title": "The California Report", "tagline": "California, day by day", "info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.", "imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg", "imageAlt": "KQED The California Report", "officialWebsiteLink": "/californiareport", "meta": { "site": "news", "source": "kqed", "order": 8 }, "link": "/californiareport", "subscribe": { "apple": "https://podcasts.apple.com/us/podcast/kqeds-the-california-report/id79681292", "google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1MDAyODE4NTgz", "npr": "https://www.npr.org/podcasts/432285393/the-california-report", "stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-the-california-report-podcast-8838", "rss": "https://ww2.kqed.org/news/tag/tcram/feed/podcast" } }, "californiareportmagazine": { "id": "californiareportmagazine", "title": "The California Report Magazine", "tagline": "Your state, your stories", "info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.", "airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm", "imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Magazine-Podcast-Tile-703x703-1.jpg", "officialWebsiteLink": "/californiareportmagazine", "meta": { "site": "news", "source": "kqed", "order": 10 }, "link": "/californiareportmagazine", "subscribe": { "apple": "https://podcasts.apple.com/us/podcast/the-california-report-magazine/id1314750545", "google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz", "npr": "https://www.npr.org/podcasts/564733126/the-california-report-magazine", "stitcher": "https://www.stitcher.com/podcast/kqed/the-california-report-magazine", "rss": "https://ww2.kqed.org/news/tag/tcrmag/feed/podcast" } }, "closealltabs": { "id": "closealltabs", "title": "Close All Tabs", "tagline": "Your irreverent guide to the trends redefining our world", "info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.", "imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/02/CAT_2_Tile-scaled.jpg", "imageAlt": "\"KQED Close All Tabs", "officialWebsiteLink": "/podcasts/closealltabs", "meta": { "site": "news", "source": "kqed", "order": 1 }, "link": "/podcasts/closealltabs", "subscribe": { "apple": "https://podcasts.apple.com/us/podcast/close-all-tabs/id214663465", "rss": "https://feeds.megaphone.fm/KQINC6993880386", "amazon": "https://music.amazon.com/podcasts/92d9d4ac-67a3-4eed-b10a-fb45d45b1ef2/close-all-tabs", "spotify": "https://open.spotify.com/show/6LAJFHnGK1pYXYzv6SIol6?si=deb0cae19813417c" } }, "thelatest": { "id": "thelatest", "title": "The Latest", "tagline": "Trusted local news in real time", "info": "", "imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/09/The-Latest-Podcast-Tile-703x703-1.jpg", "imageAlt": "KQED The Latest", "officialWebsiteLink": "/thelatest", "meta": { "site": "news", "source": "kqed", "order": 6 }, "link": "/thelatest", "subscribe": { "apple": "https://podcasts.apple.com/us/podcast/the-latest-from-kqed/id1197721799", "npr": "https://www.npr.org/podcasts/1257949365/the-latest-from-k-q-e-d", "spotify": "https://open.spotify.com/show/5KIIXMgM9GTi5AepwOYvIZ?si=bd3053fec7244dba", "rss": "https://feeds.megaphone.fm/KQINC9137121918" } }, "theleap": { "id": "theleap", "title": "The Leap", "tagline": "What if you closed your eyes, and jumped?", "info": "Stories about people making dramatic, risky changes, told by award-winning public radio reporter Judy Campbell.", "imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Leap-Podcast-Tile-703x703-1.jpg", "imageAlt": "KQED The Leap", "officialWebsiteLink": "/podcasts/theleap", "meta": { "site": "news", "source": "kqed", "order": 16 }, "link": "/podcasts/theleap", "subscribe": { "apple": "https://podcasts.apple.com/us/podcast/the-leap/id1046668171", "google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM0NTcwODQ2MjY2", "npr": "https://www.npr.org/podcasts/447248267/the-leap", "stitcher": "https://www.stitcher.com/podcast/kqed/the-leap", "spotify": "https://open.spotify.com/show/3sSlVHHzU0ytLwuGs1SD1U", "rss": "https://ww2.kqed.org/news/programs/the-leap/feed/podcast" } }, "masters-of-scale": { "id": "masters-of-scale", "title": "Masters of Scale", "info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.", "airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)", "imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg", "officialWebsiteLink": "https://mastersofscale.com/", "meta": { "site": "radio", "source": "WaitWhat" }, "link": "/radio/program/masters-of-scale", "subscribe": { "apple": "http://mastersofscale.app.link/", "rss": "https://rss.art19.com/masters-of-scale" } }, "the-moth-radio-hour": { "id": "the-moth-radio-hour", "title": "The Moth Radio Hour", "info": "Since its launch in 1997, The Moth has presented thousands of true stories, told live and without notes, to standing-room-only crowds worldwide. Moth storytellers stand alone, under a spotlight, with only a microphone and a roomful of strangers. The storyteller and the audience embark on a high-wire act of shared experience which is both terrifying and exhilarating. Since 2008, The Moth podcast has featured many of our favorite stories told live on Moth stages around the country. For information on all of our programs and live events, visit themoth.org.", "airtime": "SAT 8pm-9pm and SUN 11am-12pm", "imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/theMoth.jpg", "officialWebsiteLink": "https://themoth.org/", "meta": { "site": "arts", "source": "prx" }, "link": "/radio/program/the-moth-radio-hour", "subscribe": { "apple": "https://itunes.apple.com/us/podcast/the-moth-podcast/id275699983?mt=2", "tuneIn": "https://tunein.com/radio/The-Moth-p273888/", "rss": "http://feeds.themoth.org/themothpodcast" } }, "the-new-yorker-radio-hour": { "id": "the-new-yorker-radio-hour", "title": "The New Yorker Radio Hour", "info": "The New Yorker Radio Hour is a weekly program presented by the magazine's editor, David Remnick, and produced by WNYC Studios and The New Yorker. Each episode features a diverse mix of interviews, profiles, storytelling, and an occasional burst of humor inspired by the magazine, and shaped by its writers, artists, and editors. This isn't a radio version of a magazine, but something all its own, reflecting the rich possibilities of audio storytelling and conversation. Theme music for the show was composed and performed by Merrill Garbus of tUnE-YArDs.", "airtime": "SAT 10am-11am", "imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-New-Yorker-Podcast-Tile-360x360-1.jpg", "officialWebsiteLink": "https://www.wnycstudios.org/shows/tnyradiohour", "meta": { "site": "arts", "source": "WNYC" }, "link": "/radio/program/the-new-yorker-radio-hour", "subscribe": { "apple": "https://itunes.apple.com/us/podcast/id1050430296", "tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/New-Yorker-Radio-Hour-p803804/", "rss": "https://feeds.feedburner.com/newyorkerradiohour" } }, "the-takeaway": { "id": "the-takeaway", "title": "The Takeaway", "info": "The Takeaway is produced in partnership with its national audience. It delivers perspective and analysis to help us better understand the day’s news. Be a part of the American conversation on-air and online.", "airtime": "MON-THU 12pm-1pm", "imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Takeaway-Podcast-Tile-360x360-1.jpg", "officialWebsiteLink": "https://www.wnycstudios.org/shows/takeaway", "meta": { "site": "news", "source": "WNYC" }, "link": "/radio/program/the-takeaway", "subscribe": { "apple": "https://itunes.apple.com/us/podcast/the-takeaway/id363143310?mt=2", "tuneIn": "http://tunein.com/radio/The-Takeaway-p150731/", "rss": "https://feeds.feedburner.com/takeawaypodcast" } }, "this-american-life": { "id": "this-american-life", "title": "This American Life", "info": "This American Life is a weekly public radio show, heard by 2.2 million people on more than 500 stations. Another 2.5 million people download the weekly podcast. It is hosted by Ira Glass, produced in collaboration with Chicago Public Media, delivered to stations by PRX The Public Radio Exchange, and has won all of the major broadcasting awards.", "airtime": "SAT 12pm-1pm, 7pm-8pm", "imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/thisAmericanLife.png", "officialWebsiteLink": "https://www.thisamericanlife.org/", "meta": { "site": "news", "source": "wbez" }, "link": "/radio/program/this-american-life", "subscribe": { "apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201671138&at=11l79Y&ct=nprdirectory", "rss": "https://www.thisamericanlife.org/podcast/rss.xml" } }, "truthbetold": { "id": "truthbetold", "title": "Truth Be Told", "tagline": "Advice by and for people of color", "info": "We’re the friend you call after a long day, the one who gets it. 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Don't Tell Me!", "info": "Peter Sagal and Bill Kurtis host the weekly NPR News quiz show alongside some of the best and brightest news and entertainment personalities.", "airtime": "SUN 10am-11am, SAT 11am-12pm, SAT 6pm-7pm", "imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Wait-Wait-Podcast-Tile-300x300-1.jpg", "officialWebsiteLink": "https://www.npr.org/programs/wait-wait-dont-tell-me/", "meta": { "site": "news", "source": "npr" }, "link": "/radio/program/wait-wait-dont-tell-me", "subscribe": { "npr": "https://rpb3r.app.goo.gl/Xogv", "apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=121493804&at=11l79Y&ct=nprdirectory", "tuneIn": "https://tunein.com/radio/Wait-Wait-Dont-Tell-Me-p46/", "rss": "https://feeds.npr.org/344098539/podcast.xml" } }, "washington-week": { "id": "washington-week", "title": "Washington Week", "info": "For 50 years, Washington Week has been the most intelligent and up to date conversation about the most important news stories of the week. 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Our hosts, Ray Suarez, Teresa Cotsirilos and Philip Yun help you make sense of an uncertain world, one story at a time.", "airtime": "MON 10pm, TUE 1am, SAT 3am", "imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/World-Affairs-Podcast-Tile-360x360-1.jpg", "officialWebsiteLink": "https://www.worldaffairs.org/", "meta": { "site": "news", "source": "World Affairs" }, "link": "/radio/program/world-affairs", "subscribe": { "apple": "https://itunes.apple.com/us/podcast/world-affairs/id101215657?mt=2", "tuneIn": "https://tunein.com/radio/WorldAffairs-p1665/", "rss": "https://worldaffairs.libsyn.com/rss" } }, "on-shifting-ground": { "id": "on-shifting-ground", "title": "On Shifting Ground with Ray Suarez", "info": "Geopolitical turmoil. A warming planet. Authoritarians on the rise. We live in a chaotic world that’s rapidly shifting around us. “On Shifting Ground with Ray Suarez” explores international fault lines and how they impact us all. 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", "raceReadTheStory": "", "raceType": "yesNo", "timeUpdated": "9:01 PM", "dateUpdated": "Dec 3, 2024", "totalVotes": 52282, "candidates": [ { "candidateName": "Yes", "candidateIncumbent": false, "candidateParty": "", "voteCount": 46394 }, { "candidateName": "No", "candidateIncumbent": false, "candidateParty": "", "voteCount": 5888 } ] }, "AlamedaMeasureBB": { "id": "AlamedaMeasureBB", "type": "localRace", "location": "Alameda", "raceName": "Measure BB", "raceDescription": "Berkeley. Affordable housing programs. Passes with majority vote. 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", "raceReadTheStory": "", "raceType": "yesNo", "timeUpdated": "9:01 PM", "dateUpdated": "Dec 3, 2024", "totalVotes": 51633, "candidates": [ { "candidateName": "Yes", "candidateIncumbent": false, "candidateParty": "", "voteCount": 18070 }, { "candidateName": "No", "candidateIncumbent": false, "candidateParty": "", "voteCount": 33563 } ] }, "AlamedaMeasureDD": { "id": "AlamedaMeasureDD", "type": "localRace", "location": "Alameda", "raceName": "Measure DD", "raceDescription": "Berkeley. CAFO prohibition. 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Passes with majority vote.", "raceReadTheStory": "", "raceType": "yesNo", "timeUpdated": "9:01 PM", "dateUpdated": "Dec 3, 2024", "totalVotes": 52312, "candidates": [ { "candidateName": "Yes", "candidateIncumbent": false, "candidateParty": "", "voteCount": 23873 }, { "candidateName": "No", "candidateIncumbent": false, "candidateParty": "", "voteCount": 28439 } ] }, "AlamedaMeasureFF": { "id": "AlamedaMeasureFF", "type": "localRace", "location": "Alameda", "raceName": "Measure FF", "raceDescription": "Berkeley. Parcel tax. Passes with majority vote.", "raceReadTheStory": "", "raceType": "yesNo", "timeUpdated": "9:01 PM", "dateUpdated": "Dec 3, 2024", "totalVotes": 52489, "candidates": [ { "candidateName": "Yes", "candidateIncumbent": false, "candidateParty": "", "voteCount": 31942 }, { "candidateName": "No", "candidateIncumbent": false, "candidateParty": "", "voteCount": 20547 } ] }, "AlamedaMeasureGG": { "id": "AlamedaMeasureGG", "type": "localRace", "location": "Alameda", "raceName": "Measure GG", "raceDescription": "Berkeley. Fossil fuel tax. Passes with majority vote.", "raceReadTheStory": "", "raceType": "yesNo", "timeUpdated": "9:01 PM", "dateUpdated": "Dec 3, 2024", "totalVotes": 52229, "candidates": [ { "candidateName": "Yes", "candidateIncumbent": false, "candidateParty": "", "voteCount": 16178 }, { "candidateName": "No", "candidateIncumbent": false, "candidateParty": "", "voteCount": 36051 } ] }, "AlamedaMeasureHH": { "id": "AlamedaMeasureHH", "type": "localRace", "location": "Alameda", "raceName": "Measure HH", "raceDescription": "Berkeley. Indoor air quality. Passes with majority vote.", "raceReadTheStory": "", "raceType": "yesNo", "timeUpdated": "9:01 PM", "dateUpdated": "Dec 3, 2024", "totalVotes": 51108, "candidates": [ { "candidateName": "Yes", "candidateIncumbent": false, "candidateParty": "", "voteCount": 22205 }, { "candidateName": "No", "candidateIncumbent": false, "candidateParty": "", "voteCount": 28903 } ] }, "AlamedaMeasureII": { "id": "AlamedaMeasureII", "type": "localRace", "location": "Alameda", "raceName": "Measure II", "raceDescription": "Dublin. Open Space Initiative. Passes with 50% vote. ", "raceReadTheStory": "", "raceType": "yesNo", "timeUpdated": "9:01 PM", "dateUpdated": "Dec 3, 2024", "totalVotes": 25701, "candidates": [ { "candidateName": "Yes", "candidateIncumbent": false, "candidateParty": "", "voteCount": 13649 }, { "candidateName": "No", "candidateIncumbent": false, "candidateParty": "", "voteCount": 12052 } ] }, "AlamedaMeasureJJ": { "id": "AlamedaMeasureJJ", "type": "localRace", "location": "Alameda", "raceName": "Measure JJ", "raceDescription": "Dublin. Government accountability. Passes with majority vote.", "raceReadTheStory": "", "raceType": "yesNo", "timeUpdated": "9:01 PM", "dateUpdated": "Dec 3, 2024", "totalVotes": 25445, "candidates": [ { "candidateName": "Yes", "candidateIncumbent": false, "candidateParty": "", "voteCount": 19350 }, { "candidateName": "No", "candidateIncumbent": false, "candidateParty": "", "voteCount": 6095 } ] }, "AlamedaMeasureK1": { "id": "AlamedaMeasureK1", "type": "localRace", "location": "Alameda", "raceName": "Measure K1", "raceDescription": "Hayward. Sales tax. Passes with majority vote.", "raceReadTheStory": "", "raceType": "yesNo", "timeUpdated": "9:01 PM", "dateUpdated": "Dec 3, 2024", "totalVotes": 46707, "candidates": [ { "candidateName": "Yes", "candidateIncumbent": false, "candidateParty": "", "voteCount": 38826 }, { "candidateName": "No", "candidateIncumbent": false, "candidateParty": "", "voteCount": 7881 } ] }, "AlamedaMeasureLL": { "id": "AlamedaMeasureLL", "type": "localRace", "location": "Alameda", "raceName": "Measure LL", "raceDescription": "Newark. Transient occupancy tax. Passes with majority vote.", "raceReadTheStory": "", "raceType": "yesNo", "timeUpdated": "9:01 PM", "dateUpdated": "Dec 3, 2024", "totalVotes": 15814, "candidates": [ { "candidateName": "Yes", "candidateIncumbent": false, "candidateParty": "", "voteCount": 12721 }, { "candidateName": "No", "candidateIncumbent": false, "candidateParty": "", "voteCount": 3093 } ] }, "AlamedaMeasureMM": { "id": "AlamedaMeasureMM", "type": "localRace", "location": "Alameda", "raceName": "Measure MM", "raceDescription": "Oakland. Wildfire protection zone. Passes with 2/3 vote. ", "raceReadTheStory": "", "raceType": "yesNo", "timeUpdated": "9:01 PM", "dateUpdated": "Dec 3, 2024", "totalVotes": 35275, "candidates": [ { "candidateName": "Yes", "candidateIncumbent": false, "candidateParty": "", "voteCount": 25125 }, { "candidateName": "No", "candidateIncumbent": false, "candidateParty": "", "voteCount": 10150 } ] }, "AlamedaMeasureNN": { "id": "AlamedaMeasureNN", "type": "localRace", "location": "Alameda", "raceName": "Measure NN", "raceDescription": "Oakland. Parking tax. Passes with 2/3 vote. ", "raceReadTheStory": "", "raceType": "yesNo", "timeUpdated": "9:01 PM", "dateUpdated": "Dec 3, 2024", "totalVotes": 159573, "candidates": [ { "candidateName": "Yes", "candidateIncumbent": false, "candidateParty": "", "voteCount": 112971 }, { "candidateName": "No", "candidateIncumbent": false, "candidateParty": "", "voteCount": 46602 } ] }, "AlamedaMeasureOO": { "id": "AlamedaMeasureOO", "type": "localRace", "location": "Alameda", "raceName": "Measure OO", "raceDescription": "Oakland. Public ethics comission. Passes with majority vote.", "raceReadTheStory": "", "raceType": "yesNo", "timeUpdated": "9:01 PM", "dateUpdated": "Dec 3, 2024", "totalVotes": 150503, "candidates": [ { "candidateName": "Yes", "candidateIncumbent": false, "candidateParty": "", "voteCount": 110317 }, { "candidateName": "No", "candidateIncumbent": false, "candidateParty": "", "voteCount": 40186 } ] }, "AlamedaMeasurePP": { "id": "AlamedaMeasurePP", "type": "localRace", "location": "Alameda", "raceName": "Measure PP", "raceDescription": "Pleasanton. Sales tax. Passes with majority vote.", "raceReadTheStory": "", "raceType": "yesNo", "timeUpdated": "9:01 PM", "dateUpdated": "Dec 3, 2024", "totalVotes": 34880, "candidates": [ { "candidateName": "Yes", "candidateIncumbent": false, "candidateParty": "", "voteCount": 15983 }, { "candidateName": "No", "candidateIncumbent": false, "candidateParty": "", "voteCount": 18897 } ] }, "AlamedaMeasureQQ": { "id": "AlamedaMeasureQQ", "type": "localRace", "location": "Alameda", "raceName": "Measure QQ", "raceDescription": "Union City. Gross receipts tax. Passes with majority vote.", "raceReadTheStory": "", "raceType": "yesNo", "timeUpdated": "9:01 PM", "dateUpdated": "Dec 3, 2024", "totalVotes": 24809, "candidates": [ { "candidateName": "Yes", "candidateIncumbent": false, "candidateParty": "", "voteCount": 20249 }, { "candidateName": "No", "candidateIncumbent": false, "candidateParty": "", "voteCount": 4560 } ] }, "AlamedaAlbanyCityCouncil": { "id": "AlamedaAlbanyCityCouncil", "type": "localRace", "location": "Alameda", "raceName": "Albany City Council", "raceDescription": "Top three candidates win seat. This result only reflects voters’ first-choice candidate. If votes are redistributed in an instant runoff, they are not reflected in this result.", "raceReadTheStory": "", "raceType": "top3", "timeUpdated": "9:01 PM", "dateUpdated": "Dec 3, 2024", "totalVotes": 7969, "candidates": [ { "candidateName": "Jennifer Hansen-Romero", "candidateIncumbent": true, "candidateParty": "", "voteCount": 2072 }, { "candidateName": "Peggy (Margaret) McQuaid", "candidateIncumbent": false, "candidateParty": "", "voteCount": 2150 }, { "candidateName": "Jeremiah Garrett-Pinguelo", "candidateIncumbent": false, "candidateParty": "", "voteCount": 393 }, { "candidateName": "Aaron Tiedemann", "candidateIncumbent": true, "candidateParty": "", "voteCount": 1490 }, { "candidateName": "Preston Jordan", "candidateIncumbent": true, "candidateParty": "", "voteCount": 1864 } ] }, "AlamedaAlbanyCityCouncilFinalRound": { "id": "AlamedaAlbanyCityCouncilFinalRound", "type": "localRace", "location": "Alameda", "raceName": "Albany City Council Final Round", "raceDescription": "Top three candidates win seat. This result reflects redistributed votes. The results of the instant runoff will change as more first-choice votes are counted.", "raceReadTheStory": "", "raceType": "top3", "timeUpdated": "9:01 PM", "dateUpdated": "Dec 3, 2024", "totalVotes": 7865.9493, "candidates": [ { "candidateName": "Jennifer Hansen-Romero", "candidateIncumbent": true, "candidateParty": "", "voteCount": 2002 }, { "candidateName": "Peggy (Margaret) McQuaid", "candidateIncumbent": false, "candidateParty": "", "voteCount": 2002 }, { "candidateName": "Jeremiah Garrett-Pinguelo (eliminated)", "candidateIncumbent": false, "candidateParty": "", "voteCount": 0 }, { "candidateName": "Aaron Tiedemann", "candidateIncumbent": true, "candidateParty": "", "voteCount": 1823.9955 }, { "candidateName": "Preston Jordan ", "candidateIncumbent": true, "candidateParty": "", "voteCount": 2037.9538 } ] }, "AlamedaAlbanyBoardofEducation": { "id": "AlamedaAlbanyBoardofEducation", "type": "localRace", "location": "Alameda", "raceName": "Albany Board of Education", "raceDescription": "Top two candidates win seat. This result only reflects voters’ first-choice candidate. If votes are redistributed in an instant runoff, they are not reflected in this result.", "raceReadTheStory": "", "raceType": "top2", "timeUpdated": "9:01 PM", "dateUpdated": "Dec 3, 2024", "totalVotes": 7096, "candidates": [ { "candidateName": "Jolene Gazmen", "candidateIncumbent": false, "candidateParty": "", "voteCount": 1633 }, { "candidateName": "Dayna Inkeles", "candidateIncumbent": false, "candidateParty": "", "voteCount": 1972 }, { "candidateName": "Brian L. Doss", "candidateIncumbent": false, "candidateParty": "", "voteCount": 718 }, { "candidateName": "Veronica Davidson", "candidateIncumbent": true, "candidateParty": "", "voteCount": 2773 } ] }, "AlamedaAlbanyBoardofEducationFinalRound": { "id": "AlamedaAlbanyBoardofEducationFinalRound", "type": "localRace", "location": "Alameda", "raceName": "Albany Board of Education Final Round", "raceDescription": "Top two candidates win seat. This result reflects redistributed votes. The results of the instant runoff will change as more first-choice votes are counted.", "raceReadTheStory": "", "raceType": "top2", "timeUpdated": "9:01 PM", "dateUpdated": "Dec 3, 2024", "totalVotes": 6949.5470000000005, "candidates": [ { "candidateName": "Jolene Gazmen", "candidateIncumbent": false, "candidateParty": "", "voteCount": 1997.5386 }, { "candidateName": "Dayna Inkeles", "candidateIncumbent": false, "candidateParty": "", "voteCount": 2569.0084 }, { "candidateName": "Brian L. Doss (eliminated)", "candidateIncumbent": false, "candidateParty": "", "voteCount": 0 }, { "candidateName": "Veronica Davidson", "candidateIncumbent": true, "candidateParty": "", "voteCount": 2383 } ] }, "AlamedaBerkeleyMayor": { "id": "AlamedaBerkeleyMayor", "type": "localRace", "location": "Alameda", "raceName": "Berkeley Mayor", "raceDescription": "Top candidate wins seat. This result only reflects voters’ first-choice candidate. If votes are redistributed in an instant runoff, they are not reflected in this result.", "raceReadTheStory": "", "raceType": "top1", "timeUpdated": "9:01 PM", "dateUpdated": "Dec 3, 2024", "totalVotes": 52493, "candidates": [ { "candidateName": "Adena Ishii", "candidateIncumbent": false, "candidateParty": "", "voteCount": 19978 }, { "candidateName": "Sophie Hahn", "candidateIncumbent": false, "candidateParty": "", "voteCount": 19633 }, { "candidateName": "Kate Harrison", "candidateIncumbent": false, "candidateParty": "", "voteCount": 11853 }, { "candidateName": "Naomi D. Pete", "candidateIncumbent": false, "candidateParty": "", "voteCount": 501 }, { "candidateName": "Logan Bowie", "candidateIncumbent": false, "candidateParty": "", "voteCount": 528 } ] }, "AlamedaBerkeleyMayorFinalRound": { "id": "AlamedaBerkeleyMayorFinalRound", "type": "localRace", "location": "Alameda", "raceName": "Berkeley Mayor Final Round", "raceDescription": "Top candidate wins seat. This result reflects redistributed votes. The results of the instant runoff will change as more first-choice votes are counted.", "raceReadTheStory": "", "raceType": "top1", "timeUpdated": "9:01 PM", "dateUpdated": "Dec 3, 2024", "totalVotes": 49265, "candidates": [ { "candidateName": "Adena Ishii", "candidateIncumbent": false, "candidateParty": "", "voteCount": 25156 }, { "candidateName": "Sophie Hahn", "candidateIncumbent": false, "candidateParty": "", "voteCount": 24109 }, { "candidateName": "Kate Harrison (eliminated)", "candidateIncumbent": false, "candidateParty": "", "voteCount": 0 }, { "candidateName": "Naomi D. Pete (eliminated)", "candidateIncumbent": false, "candidateParty": "", "voteCount": 0 }, { "candidateName": "Logan Bowie (eliminated)", "candidateIncumbent": false, "candidateParty": "", "voteCount": 0 } ] }, "AlamedaBerkeleyCityCouncilDistrict2": { "id": "AlamedaBerkeleyCityCouncilDistrict2", "type": "localRace", "location": "Alameda", "raceName": "Berkeley City Council, District 2", "raceDescription": "Top candidate wins seat.", "raceReadTheStory": "", "raceType": "top1", "timeUpdated": "9:01 PM", "dateUpdated": "Dec 3, 2024", "totalVotes": 6873, "candidates": [ { "candidateName": "Terry Taplin", "candidateIncumbent": true, "candidateParty": "", "voteCount": 4787 }, { "candidateName": "Jenny Guarino", "candidateIncumbent": false, "candidateParty": "", "voteCount": 2086 } ] }, "AlamedaBerkeleyCityCouncilDistrict3": { "id": "AlamedaBerkeleyCityCouncilDistrict3", "type": "localRace", "location": "Alameda", "raceName": "Berkeley City Council, District 3", "raceDescription": "Top candidate wins seat. This result only reflects voters’ first-choice candidate. If votes are redistributed in an instant runoff, they are not reflected in this result.", "raceReadTheStory": "", "raceType": "top1", "timeUpdated": "9:01 PM", "dateUpdated": "Dec 3, 2024", "totalVotes": 6344, "candidates": [ { "candidateName": "Deborah Matthews", "candidateIncumbent": false, "candidateParty": "", "voteCount": 1526 }, { "candidateName": "John “Chip” Moore", "candidateIncumbent": false, "candidateParty": "", "voteCount": 1459 }, { "candidateName": "Ben Bartlett", "candidateIncumbent": true, "candidateParty": "", "voteCount": 3359 } ] }, "AlamedaBerkeleyCityCouncilDistrict3FinalRound": { "id": "AlamedaBerkeleyCityCouncilDistrict3FinalRound", "type": "localRace", "location": "Alameda", "raceName": "Berkeley City Council, District 3 Final Round", "raceDescription": "Top candidate wins seat. This result reflects redistributed votes. The results of the instant runoff will change as more first-choice votes are counted.", "raceReadTheStory": "", "raceType": "top1", "timeUpdated": "9:01 PM", "dateUpdated": "Dec 3, 2024", "totalVotes": 6096, "candidates": [ { "candidateName": "Deborah Matthews", "candidateIncumbent": false, "candidateParty": "", "voteCount": 1833 }, { "candidateName": "John “Chip” Moore (eliminated)", "candidateIncumbent": false, "candidateParty": "", "voteCount": 0 }, { "candidateName": "Ben Bartlett", "candidateIncumbent": true, "candidateParty": "", "voteCount": 4263 } ] }, "AlamedaBerkeleyCityCouncilDistrict5": { "id": "AlamedaBerkeleyCityCouncilDistrict5", "type": "localRace", "location": "Alameda", "raceName": "Berkeley City Council, District 5", "raceDescription": "Top candidate wins seat. This result only reflects voters’ first-choice candidate. If votes are redistributed in an instant runoff, they are not reflected in this result.", "raceReadTheStory": "", "raceType": "top1", "timeUpdated": "9:01 PM", "dateUpdated": "Dec 3, 2024", "totalVotes": 8585, "candidates": [ { "candidateName": "Nilang Gor", "candidateIncumbent": false, "candidateParty": "", "voteCount": 1063 }, { "candidateName": "Todd Andrew", "candidateIncumbent": false, "candidateParty": "", "voteCount": 1721 }, { "candidateName": "Shoshana O’Keefe", "candidateIncumbent": false, "candidateParty": "", "voteCount": 5801 } ] }, "AlamedaBerkeleyCityCouncilDistrict5FinalRound": { "id": "AlamedaBerkeleyCityCouncilDistrict5FinalRound", "type": "localRace", "location": "Alameda", "raceName": "Berkeley City Council, District 5 Final Round", "raceDescription": "Top candidate wins seat. This result reflects redistributed votes. The results of the instant runoff will change as more first-choice votes are counted.", "raceReadTheStory": "", "raceType": "top1", "timeUpdated": "9:01 PM", "dateUpdated": "Dec 3, 2024", "totalVotes": 8262, "candidates": [ { "candidateName": "Nilang Gor (eliminated)", "candidateIncumbent": false, "candidateParty": "", "voteCount": 0 }, { "candidateName": "Todd Andrew", "candidateIncumbent": false, "candidateParty": "", "voteCount": 1995 }, { "candidateName": "Shoshana O’Keefe", "candidateIncumbent": false, "candidateParty": "", "voteCount": 6267 } ] }, "AlamedaBerkeleyCityCouncilDistrict6": { "id": "AlamedaBerkeleyCityCouncilDistrict6", "type": "localRace", "location": "Alameda", "raceName": "Berkeley City Council, District 6", "raceDescription": "Top candidate wins seat.", "raceReadTheStory": "", "raceType": "top1", "timeUpdated": "9:01 PM", "dateUpdated": "Dec 3, 2024", "totalVotes": 7332, "candidates": [ { "candidateName": "Brent Blackaby", "candidateIncumbent": false, "candidateParty": "", "voteCount": 4405 }, { "candidateName": "Andy Katz", "candidateIncumbent": false, "candidateParty": "", "voteCount": 2927 } ] }, "AlamedaOaklandCityCouncilAtLarge": { "id": "AlamedaOaklandCityCouncilAtLarge", "type": "localRace", "location": "Alameda", "raceName": "Oakland City Council, At Large", "raceDescription": "Top candidate wins seat. This result only reflects voters’ first-choice candidate. If votes are redistributed in an instant runoff, they are not reflected in this result.", "raceReadTheStory": "", "raceType": "top1", "timeUpdated": "9:01 PM", "dateUpdated": "Dec 3, 2024", "totalVotes": 143599, "candidates": [ { "candidateName": "Cristina “Tina” Tostado", "candidateIncumbent": false, "candidateParty": "", "voteCount": 5406 }, { "candidateName": "Charlene Wang", "candidateIncumbent": false, "candidateParty": "", "voteCount": 30485 }, { "candidateName": "Mindy Ruth Pechenuk", "candidateIncumbent": false, "candidateParty": "", "voteCount": 4835 }, { "candidateName": "Rowena Brown", "candidateIncumbent": false, "candidateParty": "", "voteCount": 41871 }, { "candidateName": "Nancy Sidebotham", "candidateIncumbent": false, "candidateParty": "", "voteCount": 2254 }, { "candidateName": "LeRonne L. Armstrong", "candidateIncumbent": false, "candidateParty": "", "voteCount": 39258 }, { "candidateName": "Fabian Robinson", "candidateIncumbent": false, "candidateParty": "", "voteCount": 2794 }, { "candidateName": "Shawn Danino", "candidateIncumbent": false, "candidateParty": "", "voteCount": 9695 }, { "candidateName": "Kanitha Matoury", "candidateIncumbent": false, "candidateParty": "", "voteCount": 5629 }, { "candidateName": "Selika Thomas", "candidateIncumbent": false, "candidateParty": "", "voteCount": 1372 } ] }, "AlamedaOaklandCityCouncilAtLargeFinalRound": { "id": "AlamedaOaklandCityCouncilAtLargeFinalRound", "type": "localRace", "location": "Alameda", "raceName": "Oakland City Council, At Large Final Round", "raceDescription": "Top candidate wins seat. This result reflects redistributed votes. The results of the instant runoff will change as more first-choice votes are counted.", "raceReadTheStory": "", "raceType": "top1", "timeUpdated": "9:01 PM", "dateUpdated": "Dec 3, 2024", "totalVotes": 127094, "candidates": [ { "candidateName": "Cristina “Tina” Tostado (eliminated)", "candidateIncumbent": false, "candidateParty": "", "voteCount": 0 }, { "candidateName": "Charlene Wang (eliminated)", "candidateIncumbent": false, "candidateParty": "", "voteCount": 0 }, { "candidateName": "Mindy Ruth Pechenuk (eliminated)", "candidateIncumbent": false, "candidateParty": "", "voteCount": 0 }, { "candidateName": "Rowena Brown", "candidateIncumbent": false, "candidateParty": "", "voteCount": 72315 }, { "candidateName": "Nancy Sidebotham (eliminated)", "candidateIncumbent": false, "candidateParty": "", "voteCount": 0 }, { "candidateName": "LeRonne L. Armstrong", "candidateIncumbent": false, "candidateParty": "", "voteCount": 54779 }, { "candidateName": "Fabian Robinson (eliminated)", "candidateIncumbent": false, "candidateParty": "", "voteCount": 0 }, { "candidateName": "Shawn Danino (eliminated)", "candidateIncumbent": false, "candidateParty": "", "voteCount": 0 }, { "candidateName": "Kanitha Matoury (eliminated)", "candidateIncumbent": false, "candidateParty": "", "voteCount": 0 }, { "candidateName": "Selika Thomas (eliminated)", "candidateIncumbent": false, "candidateParty": "", "voteCount": 0 } ] }, "AlamedaOaklandCityCouncilDistrict1": { "id": "AlamedaOaklandCityCouncilDistrict1", "type": "localRace", "location": "Alameda", "raceName": "Oakland City Council, District 1 ", "raceDescription": "Top candidate wins seat. This result only reflects voters’ first-choice candidate. If votes are redistributed in an instant runoff, they are not reflected in this result.", "raceReadTheStory": "", "raceType": "top1", "timeUpdated": "9:01 PM", "dateUpdated": "Dec 3, 2024", "totalVotes": 29613, "candidates": [ { "candidateName": "Edward C. Frank", "candidateIncumbent": false, "candidateParty": "", "voteCount": 2581 }, { "candidateName": "Zac Unger", "candidateIncumbent": false, "candidateParty": "", "voteCount": 22641 }, { "candidateName": "Len Raphael", "candidateIncumbent": false, "candidateParty": "", "voteCount": 4391 } ] }, "AlamedaOaklandCityCouncilDistrict1FinalRound": { "id": "AlamedaOaklandCityCouncilDistrict1FinalRound", "type": "localRace", "location": "Alameda", "raceName": "Oakland City Council, District 1 Final Round", "raceDescription": "Top candidate wins seat. This result reflects redistributed votes. The results of the instant runoff will change as more first-choice votes are counted.", "raceReadTheStory": "", "raceType": "top1", "timeUpdated": "9:01 PM", "dateUpdated": "Dec 3, 2024", "totalVotes": 29252, "candidates": [ { "candidateName": "Edward C. Frank (eliminated)", "candidateIncumbent": false, "candidateParty": "", "voteCount": 0 }, { "candidateName": "Zac Unger", "candidateIncumbent": false, "candidateParty": "", "voteCount": 24350 }, { "candidateName": "Len Raphael", "candidateIncumbent": false, "candidateParty": "", "voteCount": 4902 } ] }, "AlamedaOaklandCityCouncilDistrict3": { "id": "AlamedaOaklandCityCouncilDistrict3", "type": "localRace", "location": "Alameda", "raceName": "Oakland City Council, District 3 ", "raceDescription": "Top candidate wins seat. This result only reflects voters’ first-choice candidate. If votes are redistributed in an instant runoff, they are not reflected in this result.", "raceReadTheStory": "", "raceType": "top1", "timeUpdated": "9:01 PM", "dateUpdated": "Dec 3, 2024", "totalVotes": 20561, "candidates": [ { "candidateName": "Baba Afolabi", "candidateIncumbent": false, "candidateParty": "", "voteCount": 1600 }, { "candidateName": "Carroll Fife", "candidateIncumbent": true, "candidateParty": "", "voteCount": 9871 }, { "candidateName": "Michelle D. Hailey", "candidateIncumbent": false, "candidateParty": "", "voteCount": 1458 }, { "candidateName": "Warren Mitchell Logan", "candidateIncumbent": false, "candidateParty": "", "voteCount": 6222 }, { "candidateName": "Shan M. Hirsch", "candidateIncumbent": false, "candidateParty": "", "voteCount": 609 }, { "candidateName": "Meron Semedar", "candidateIncumbent": false, "candidateParty": "", "voteCount": 801 } ] }, "AlamedaOaklandCityCouncilDistrict3FinalRound": { "id": "AlamedaOaklandCityCouncilDistrict3FinalRound", "type": "localRace", "location": "Alameda", "raceName": "Oakland City Council, District 3 Final Round", "raceDescription": "Top candidate wins seat. This result reflects redistributed votes. The results of the instant runoff will change as more first-choice votes are counted.", "raceReadTheStory": "", "raceType": "top1", "timeUpdated": "9:01 PM", "dateUpdated": "Dec 3, 2024", "totalVotes": 19506, "candidates": [ { "candidateName": "Baba Afolabi (eliminated)", "candidateIncumbent": false, "candidateParty": "", "voteCount": 0 }, { "candidateName": "Carroll Fife", "candidateIncumbent": true, "candidateParty": "", "voteCount": 11437 }, { "candidateName": "Michelle D. Hailey (eliminated)", "candidateIncumbent": false, "candidateParty": "", "voteCount": 0 }, { "candidateName": "Warren Mitchell Logan", "candidateIncumbent": false, "candidateParty": "", "voteCount": 8069 }, { "candidateName": "Shan M. Hirsch (eliminated)", "candidateIncumbent": false, "candidateParty": "", "voteCount": 0 }, { "candidateName": "Meron Semedar (eliminated)", "candidateIncumbent": false, "candidateParty": "", "voteCount": 0 } ] }, "AlamedaOaklandCityCouncilDistrict5": { "id": "AlamedaOaklandCityCouncilDistrict5", "type": "localRace", "location": "Alameda", "raceName": "Oakland City Council, District 5", "raceDescription": "Top candidate wins seat. This result only reflects voters’ first-choice candidate. If votes are redistributed in an instant runoff, they are not reflected in this result.", "raceReadTheStory": "", "raceType": "top1", "timeUpdated": "9:01 PM", "dateUpdated": "Dec 3, 2024", "totalVotes": 12299, "candidates": [ { "candidateName": "Noel Gallo", "candidateIncumbent": true, "candidateParty": "", "voteCount": 6482 }, { "candidateName": "Dominic Prado", "candidateIncumbent": false, "candidateParty": "", "voteCount": 1930 }, { "candidateName": "Erin Armstrong", "candidateIncumbent": false, "candidateParty": "", "voteCount": 3887 } ] }, "AlamedaOaklandCityCouncilDistrict5FinalRound": { "id": "AlamedaOaklandCityCouncilDistrict5FinalRound", "type": "localRace", "location": "Alameda", "raceName": "Oakland City Council, District 5 Final Round", "raceDescription": "Top candidate wins seat. This result reflects redistributed votes. The results of the instant runoff will change as more first-choice votes are counted.", "raceReadTheStory": "", "raceType": "top1", "timeUpdated": "9:01 PM", "dateUpdated": "Dec 3, 2024", "totalVotes": 12059, "candidates": [ { "candidateName": "Noel Gallo", "candidateIncumbent": true, "candidateParty": "", "voteCount": 7120 }, { "candidateName": "Dominic Prado (eliminated)", "candidateIncumbent": false, "candidateParty": "", "voteCount": 0 }, { "candidateName": "Erin Armstrong", "candidateIncumbent": false, "candidateParty": "", "voteCount": 4939 } ] }, "AlamedaOaklandCityCouncilDistrict7": { "id": "AlamedaOaklandCityCouncilDistrict7", "type": "localRace", "location": "Alameda", "raceName": "Oakland City Council, District 7", "raceDescription": "Top candidate wins seat. This result only reflects voters’ first-choice candidate. If votes are redistributed in an instant runoff, they are not reflected in this result.", "raceReadTheStory": "", "raceType": "top1", "timeUpdated": "9:01 PM", "dateUpdated": "Dec 3, 2024", "totalVotes": 13089, "candidates": [ { "candidateName": "Merika Goolsby", "candidateIncumbent": false, "candidateParty": "", "voteCount": 2063 }, { "candidateName": "Ken Houston", "candidateIncumbent": false, "candidateParty": "", "voteCount": 4428 }, { "candidateName": "Iris Merriouns", "candidateIncumbent": false, "candidateParty": "", "voteCount": 4132 }, { "candidateName": "Marcie Hodge", "candidateIncumbent": false, "candidateParty": "", "voteCount": 2466 } ] }, "AlamedaOaklandCityCouncilDistrict7FinalRound": { "id": "AlamedaOaklandCityCouncilDistrict7FinalRound", "type": "localRace", "location": "Alameda", "raceName": "Oakland City Council, District 7 Final Round", "raceDescription": "Top candidate wins seat. This result reflects redistributed votes. The results of the instant runoff will change as more first-choice votes are counted.", "raceReadTheStory": "", "raceType": "top1", "timeUpdated": "9:01 PM", "dateUpdated": "Dec 3, 2024", "totalVotes": 12106, "candidates": [ { "candidateName": "Merika Goolsby (eliminated)", "candidateIncumbent": false, "candidateParty": "", "voteCount": 0 }, { "candidateName": "Ken Houston", "candidateIncumbent": false, "candidateParty": "", "voteCount": 6303 }, { "candidateName": "Iris Merriouns", "candidateIncumbent": false, "candidateParty": "", "voteCount": 5803 }, { "candidateName": "Marcie Hodge (eliminated)", "candidateIncumbent": false, "candidateParty": "", "voteCount": 0 } ] }, "AlamedaOaklandCityAttorney": { "id": "AlamedaOaklandCityAttorney", "type": "localRace", "location": "Alameda", "raceName": "Oakland City Attorney", "raceDescription": "Top candidate wins seat.", "raceReadTheStory": "", "raceType": "top1", "timeUpdated": "9:01 PM", "dateUpdated": "Dec 3, 2024", "totalVotes": 137594, "candidates": [ { "candidateName": "Brenda Harbin-Forte", "candidateIncumbent": false, "candidateParty": "", "voteCount": 56752 }, { "candidateName": "Ryan Richardson", "candidateIncumbent": false, "candidateParty": "", "voteCount": 80842 } ] }, "AlamedaOaklandSchoolDirectorDistrict1": { "id": "AlamedaOaklandSchoolDirectorDistrict1", "type": "localRace", "location": "Alameda", "raceName": "Oakland School Director, District 1 ", "raceDescription": "Top candidate wins seat.", "raceReadTheStory": "", "raceType": "top1", "timeUpdated": "9:01 PM", "dateUpdated": "Dec 3, 2024", "totalVotes": 28794, "candidates": [ { "candidateName": "Rachel Latta", "candidateIncumbent": false, "candidateParty": "", "voteCount": 22409 }, { "candidateName": "Benjamin Salop", "candidateIncumbent": false, "candidateParty": "", "voteCount": 6385 } ] }, "AlamedaOaklandSchoolDirectorDistrict3": { "id": "AlamedaOaklandSchoolDirectorDistrict3", "type": "localRace", "location": "Alameda", "raceName": "Oakland School 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This is the latest ranked choice data provided by the Department of Elections office.", "raceReadTheStory": "", "raceType": "top1", "timeUpdated": "7:55 PM", "dateUpdated": "Dec 3, 2024", "totalVotes": 331477, "candidates": [ { "candidateName": "London Breed", "candidateIncumbent": false, "candidateParty": "", "voteCount": 149113 }, { "candidateName": "Mark Farrell (eliminated)", "candidateIncumbent": false, "candidateParty": "", "voteCount": 0 }, { "candidateName": "Henry Flynn (eliminated)", "candidateIncumbent": false, "candidateParty": "", "voteCount": 0 }, { "candidateName": "Keith Freedman (eliminated)", "candidateIncumbent": false, "candidateParty": "", "voteCount": 0 }, { "candidateName": "Dylan Hirsch-Shell (eliminated)", "candidateIncumbent": false, "candidateParty": "", "voteCount": 0 }, { "candidateName": "Daniel Lurie", "candidateIncumbent": false, "candidateParty": "", "voteCount": 182364 }, { "candidateName": "Nelson Mei (eliminated)", "candidateIncumbent": false, "candidateParty": "", "voteCount": 0 }, { "candidateName": "Aaron Peskin (eliminated)", "candidateIncumbent": false, "candidateParty": "", "voteCount": 0 }, { "candidateName": "Paul Robertson (eliminated)", "candidateIncumbent": false, "candidateParty": "", "voteCount": 0 }, { "candidateName": "Ahsha Safai (eliminated)", "candidateIncumbent": false, "candidateParty": "", "voteCount": 0 }, { "candidateName": "Shahram Shariati (eliminated)", "candidateIncumbent": false, "candidateParty": "", "voteCount": 0 }, { "candidateName": "Jon Soderstrom (eliminated)", "candidateIncumbent": false, "candidateParty": "", "voteCount": 0 }, { "candidateName": "Ellen Zhou (eliminated)", "candidateIncumbent": false, "candidateParty": "", "voteCount": 0 } ] }, "SFBoardofSupervisorsDistrict1": { "id": "SFBoardofSupervisorsDistrict1", "type": "localRace", "location": "San Francisco", "raceName": "Board of Supervisors, District 1 Round One", "raceDescription": "Top candidate wins seat. This result only reflects voters’ first-choice candidate. If votes are redistributed in an instant runoff, they are not reflected in this result.", "raceReadTheStory": "", "raceType": "top1", "timeUpdated": "7:55 PM", "dateUpdated": "Dec 3, 2024", "totalVotes": 35478, "candidates": [ { "candidateName": "Sherman D'Silva", "candidateIncumbent": false, "candidateParty": "", "voteCount": 899 }, { "candidateName": "Marjan Philhour", "candidateIncumbent": false, "candidateParty": "", "voteCount": 14755 }, { "candidateName": "Connie Chan", "candidateIncumbent": true, "candidateParty": "", "voteCount": 16670 }, { "candidateName": "Jeremiah Boehner", "candidateIncumbent": false, "candidateParty": "", "voteCount": 1344 }, { "candidateName": "Jen Nossokoff", "candidateIncumbent": false, "candidateParty": "", "voteCount": 1810 } ] }, "SFBoardofSupervisorsDistrict1FinalRound": { "id": "SFBoardofSupervisorsDistrict1FinalRound", "type": "localRace", "location": "San Francisco", "raceName": "Board of Supervisors, District 1 Final Round", "raceDescription": "Top candidate wins seat. This is the latest ranked choice data provided by the Department of Elections office.", "raceReadTheStory": "", "raceType": "top1", "timeUpdated": "7:55 PM", "dateUpdated": "Dec 3, 2024", "totalVotes": 34299, "candidates": [ { "candidateName": "Sherman D'Silva (eliminated)", "candidateIncumbent": false, "candidateParty": "", "voteCount": 0 }, { "candidateName": "Marjan Philhour", "candidateIncumbent": false, "candidateParty": "", "voteCount": 16499 }, { "candidateName": "Connie Chan", "candidateIncumbent": true, "candidateParty": "", "voteCount": 17800 }, { "candidateName": "Jeremiah Boehner (eliminated)", "candidateIncumbent": false, "candidateParty": "", "voteCount": 0 }, { "candidateName": "Jen Nossokoff (eliminated)", "candidateIncumbent": false, "candidateParty": "", "voteCount": 0 } ] }, "SFBoardofSupervisorsDistrict3": { "id": "SFBoardofSupervisorsDistrict3", "type": "localRace", "location": "San Francisco", "raceName": "Board of Supervisors, District 3 Round One", "raceDescription": "Top candidate wins seat. This result only reflects voters’ first-choice candidate. If votes are redistributed in an instant runoff, they are not reflected in this result.", "raceReadTheStory": "", "raceType": "top1", "timeUpdated": "7:55 PM", "dateUpdated": "Dec 3, 2024", "totalVotes": 28758, "candidates": [ { "candidateName": "Sharon Lai", "candidateIncumbent": false, "candidateParty": "", "voteCount": 8489 }, { "candidateName": "Moe Jamil", "candidateIncumbent": false, "candidateParty": "", "voteCount": 3753 }, { "candidateName": "Wendy Ha Chau", "candidateIncumbent": false, "candidateParty": "", "voteCount": 1565 }, { "candidateName": "Eduard Navarro", "candidateIncumbent": false, "candidateParty": "", "voteCount": 879 }, { "candidateName": "Danny Sauter", "candidateIncumbent": false, "candidateParty": "", "voteCount": 11272 }, { "candidateName": "Matthew Susk", "candidateIncumbent": false, "candidateParty": "", "voteCount": 2800 } ] }, "SFBoardofSupervisorsDistrict3FinalRound": { "id": "SFBoardofSupervisorsDistrict3FinalRound", "type": "localRace", "location": "San Francisco", "raceName": "Board of Supervisors, District 3 Final Round", "raceDescription": "Top candidate wins seat. This is the latest ranked choice data provided by the Department of Elections office.", "raceReadTheStory": "", "raceType": "top1", "timeUpdated": "7:55 PM", "dateUpdated": "Dec 3, 2024", "totalVotes": 25568, "candidates": [ { "candidateName": "Sharon Lai", "candidateIncumbent": false, "candidateParty": "", "voteCount": 11512 }, { "candidateName": "Moe Jamil (eliminated)", "candidateIncumbent": false, "candidateParty": "", "voteCount": 0 }, { "candidateName": "Wendy Ha Chau (eliminated)", "candidateIncumbent": false, "candidateParty": "", "voteCount": 0 }, { "candidateName": "Eduard Navarro (eliminated)", "candidateIncumbent": false, "candidateParty": "", "voteCount": 0 }, { "candidateName": "Danny Sauter", "candidateIncumbent": false, "candidateParty": "", "voteCount": 14056 }, { "candidateName": "Matthew Susk (eliminated)", "candidateIncumbent": false, "candidateParty": "", "voteCount": 0 } ] }, "SFBoardofSupervisorsDistrict5": { "id": "SFBoardofSupervisorsDistrict5", "type": "localRace", "location": "San Francisco", "raceName": "Board of Supervisors, District 5", "raceDescription": "Top candidate wins seat. This result reflects redistributed votes. The results of the instant runoff will change as more first-choice votes are counted.", "raceReadTheStory": "", "raceType": "top1", "timeUpdated": "7:55 PM", "dateUpdated": "Dec 3, 2024", "totalVotes": 29698, "candidates": [ { "candidateName": "Autumn Hope Looijen", "candidateIncumbent": false, "candidateParty": "", "voteCount": 2606 }, { "candidateName": "Bilal Mahmood", "candidateIncumbent": false, "candidateParty": "", "voteCount": 11840 }, { "candidateName": "Scotty Jacobs", "candidateIncumbent": false, "candidateParty": "", "voteCount": 2796 }, { "candidateName": "Allen Jones", "candidateIncumbent": false, "candidateParty": "", "voteCount": 444 }, { "candidateName": "Dean Preston", "candidateIncumbent": true, "candidateParty": "", "voteCount": 12012 } ] }, "SFBoardofSupervisorsDistrict5FinalRound": { "id": "SFBoardofSupervisorsDistrict5FinalRound", "type": "localRace", "location": "San Francisco", "raceName": "Board of Supervisors, District 5 Final Round", "raceDescription": "Top candidate wins seat. This is the latest ranked choice data provided by the Department of Elections office.", "raceReadTheStory": "", "raceType": "top1", "timeUpdated": "7:55 PM", "dateUpdated": "Dec 3, 2024", "totalVotes": 27818, "candidates": [ { "candidateName": "Autumn Hope Looijen (eliminated)", "candidateIncumbent": false, "candidateParty": "", "voteCount": 0 }, { "candidateName": "Bilal Mahmood", "candidateIncumbent": false, "candidateParty": "", "voteCount": 14741 }, { "candidateName": "Scotty Jacobs (eliminated)", "candidateIncumbent": false, "candidateParty": "", "voteCount": 0 }, { "candidateName": "Allen Jones (eliminated)", "candidateIncumbent": false, "candidateParty": "", "voteCount": 0 }, { "candidateName": "Dean Preston", "candidateIncumbent": true, "candidateParty": "", "voteCount": 13077 } ] }, "SFBoardofSupervisorsDistrict7": { "id": "SFBoardofSupervisorsDistrict7", "type": "localRace", "location": "San Francisco", "raceName": "Board of Supervisors, District 7 Round One", "raceDescription": "Top candidate wins seat. This result only reflects voters’ first-choice candidate. If votes are redistributed in an instant runoff, they are not reflected in this result.", "raceReadTheStory": "", "raceType": "top1", "timeUpdated": "7:55 PM", "dateUpdated": "Dec 3, 2024", "totalVotes": 37318, "candidates": [ { "candidateName": "Myrna Melgar", "candidateIncumbent": true, "candidateParty": "", "voteCount": 17532 }, { "candidateName": "Stephen Martin-Pinto", "candidateIncumbent": false, "candidateParty": "", "voteCount": 5135 }, { "candidateName": "Edward S. Yee", "candidateIncumbent": false, "candidateParty": "", "voteCount": 1244 }, { "candidateName": "Matt Boschetto", "candidateIncumbent": false, "candidateParty": "", "voteCount": 13407 } ] }, "SFBoardofSupervisorsDistrict7FinalRound": { "id": "SFBoardofSupervisorsDistrict7FinalRound", "type": "localRace", "location": "San Francisco", "raceName": "Board of Supervisors, District 7 Final Round", "raceDescription": "Top candidate wins seat. This is the latest ranked choice data provided by the Department of Elections office.", "raceReadTheStory": "", "raceType": "top1", "timeUpdated": "7:55 PM", "dateUpdated": "Dec 3, 2024", "totalVotes": 35412, "candidates": [ { "candidateName": "Myrna Melgar", "candidateIncumbent": true, "candidateParty": "", "voteCount": 18916 }, { "candidateName": "Stephen Martin-Pinto (eliminated)", "candidateIncumbent": false, "candidateParty": "", "voteCount": 0 }, { "candidateName": "Edward S. Yee (eliminated)", "candidateIncumbent": false, "candidateParty": "", "voteCount": 0 }, { "candidateName": "Matt Boschetto", "candidateIncumbent": false, "candidateParty": "", "voteCount": 16496 } ] }, "SFBoardofSupervisorsDistrict9": { "id": "SFBoardofSupervisorsDistrict9", "type": "localRace", "location": "San Francisco", "raceName": "Board of Supervisors, District 9 Round One", "raceDescription": "Top candidate wins seat. This result only reflects voters’ first-choice candidate. If votes are redistributed in an instant runoff, they are not reflected in this result.", "raceReadTheStory": "", "raceType": "top1", "timeUpdated": "7:55 PM", "dateUpdated": "Dec 3, 2024", "totalVotes": 32731, "candidates": [ { "candidateName": "Jackie Fielder", "candidateIncumbent": false, "candidateParty": "", "voteCount": 13844 }, { "candidateName": "Stephen Jon Torres", "candidateIncumbent": false, "candidateParty": "", "voteCount": 1140 }, { "candidateName": "Roberto Hernandez", "candidateIncumbent": false, "candidateParty": "", "voteCount": 6606 }, { "candidateName": "Jaime Gutierrez", "candidateIncumbent": false, "candidateParty": "", "voteCount": 931 }, { "candidateName": "Trevor Chandler", "candidateIncumbent": false, "candidateParty": "", "voteCount": 9042 }, { "candidateName": "Julian Bermudez", "candidateIncumbent": false, "candidateParty": "", "voteCount": 600 }, { "candidateName": "H. Brown", "candidateIncumbent": false, "candidateParty": "", "voteCount": 568 } ] }, "SFBoardofSupervisorsDistrict9FinalRound": { "id": "SFBoardofSupervisorsDistrict9FinalRound", "type": "localRace", "location": "San Francisco", "raceName": "Board of Supervisors, District 9 Final Round", "raceDescription": "Top candidate wins seat. This is the latest ranked choice data provided by the Department of Elections office.", "raceReadTheStory": "", "raceType": "top1", "timeUpdated": "7:55 PM", "dateUpdated": "Dec 3, 2024", "totalVotes": 29409, "candidates": [ { "candidateName": "Jackie Fielder", "candidateIncumbent": false, "candidateParty": "", "voteCount": 17546 }, { "candidateName": "Stephen Jon Torres (eliminated)", "candidateIncumbent": false, "candidateParty": "", "voteCount": 0 }, { "candidateName": "Roberto Hernandez (eliminated)", "candidateIncumbent": false, "candidateParty": "", "voteCount": 0 }, { "candidateName": "Jaime Gutierrez (eliminated)", "candidateIncumbent": false, "candidateParty": "", "voteCount": 0 }, { "candidateName": "Trevor Chandler", "candidateIncumbent": false, "candidateParty": "", "voteCount": 11863 }, { "candidateName": "Julian Bermudez (eliminated)", "candidateIncumbent": false, "candidateParty": "", "voteCount": 0 }, { "candidateName": "H. Brown (eliminated)", "candidateIncumbent": false, "candidateParty": "", "voteCount": 0 } ] }, "SFBoardofSupervisorsDistrict11": { "id": "SFBoardofSupervisorsDistrict11", "type": "localRace", "location": "San Francisco", "raceName": "Board of Supervisors, District 11 First Round", "raceDescription": "Top candidate wins seat. This result only reflects voters’ first-choice candidate. If votes are redistributed in an instant runoff, they are not reflected in this result.", "raceReadTheStory": "", "raceType": "top1", "timeUpdated": "7:55 PM", "dateUpdated": "Dec 3, 2024", "totalVotes": 27928, "candidates": [ { "candidateName": "Oscar Flores", "candidateIncumbent": false, "candidateParty": "", "voteCount": 2896 }, { "candidateName": "Michael Lai", "candidateIncumbent": false, "candidateParty": "", "voteCount": 8675 }, { "candidateName": "Roger Marenco", "candidateIncumbent": false, "candidateParty": "", "voteCount": 604 }, { "candidateName": "Jose Morales", "candidateIncumbent": false, "candidateParty": "", "voteCount": 629 }, { "candidateName": "Ernest “EJ” Jones", "candidateIncumbent": false, "candidateParty": "", "voteCount": 5441 }, { "candidateName": "Adlah Chisti", "candidateIncumbent": false, "candidateParty": "", "voteCount": 1434 }, { "candidateName": "Chyanne Chen", "candidateIncumbent": false, "candidateParty": "", "voteCount": 8249 } ] }, "SFBoardofSupervisorsDistrict11FinalRound": { "id": "SFBoardofSupervisorsDistrict11FinalRound", "type": "localRace", "location": "San Francisco", "raceName": "Board of Supervisors, District 11 Final Round", "raceDescription": "Top candidate wins seat. This is the latest ranked choice data provided by the Department of Elections office.", "raceReadTheStory": "", "raceType": "top1", "timeUpdated": "7:55 PM", "dateUpdated": "Dec 3, 2024", "totalVotes": 23804, "candidates": [ { "candidateName": "Oscar Flores (eliminated)", "candidateIncumbent": false, "candidateParty": "", "voteCount": 0 }, { "candidateName": "Michael Lai", "candidateIncumbent": false, "candidateParty": "", "voteCount": 11803 }, { "candidateName": "Roger Marenco (eliminated)", "candidateIncumbent": false, "candidateParty": "", "voteCount": 0 }, { "candidateName": "Jose Morales (eliminated)", "candidateIncumbent": false, "candidateParty": "", "voteCount": 0 }, { "candidateName": "Ernest “EJ” Jones (eliminated)", "candidateIncumbent": false, "candidateParty": "", "voteCount": 0 }, { "candidateName": "Adlah Chisti (eliminated)", "candidateIncumbent": false, "candidateParty": "", "voteCount": 0 }, { "candidateName": "Chyanne Chen", "candidateIncumbent": false, "candidateParty": "", "voteCount": 12001 } ] }, "SFCityAttorney": { "id": "SFCityAttorney", "type": "localRace", "location": "San Francisco", "raceName": "City Attorney ", "raceDescription": "Top candidate wins seat. ", "raceReadTheStory": "", "raceType": "top1", "timeUpdated": "7:55 PM", "dateUpdated": "Dec 3, 2024", "totalVotes": 329174, "candidates": [ { "candidateName": "David Chiu", "candidateIncumbent": true, "candidateParty": "", "voteCount": 272857 }, { "candidateName": "Richard T. Woon", "candidateIncumbent": false, "candidateParty": "", "voteCount": 56317 } ] }, "SFDistrictAttorney": { "id": "SFDistrictAttorney", "type": "localRace", "location": "San Francisco", "raceName": "District Attorney", "raceDescription": "Top candidate wins seat. ", "raceReadTheStory": "", "raceType": "top1", "timeUpdated": "7:55 PM", "dateUpdated": "Dec 3, 2024", "totalVotes": 347374, "candidates": [ { "candidateName": "Brooke Jenkins ", "candidateIncumbent": true, "candidateParty": "", "voteCount": 228999 }, { "candidateName": "Ryan Khojasteh", "candidateIncumbent": false, "candidateParty": "", "voteCount": 118375 } ] }, "SFSheriff": { "id": "SFSheriff", "type": "localRace", "location": "San Francisco", "raceName": "Sheriff ", "raceDescription": "Top candidate wins seat. ", "raceReadTheStory": "", "raceType": "top1", "timeUpdated": "7:55 PM", "dateUpdated": "Dec 3, 2024", "totalVotes": 314864, "candidates": [ { "candidateName": "Michael Juan", "candidateIncumbent": false, "candidateParty": "", "voteCount": 63768 }, { "candidateName": "Paul Miyamoto", "candidateIncumbent": true, "candidateParty": "", "voteCount": 251096 } ] }, "SFTreasurer": { "id": "SFTreasurer", "type": "localRace", "location": "San Francisco", "raceName": "Treasurer ", "raceDescription": "Top candidate wins seat. ", "raceReadTheStory": "", "raceType": "top1", "timeUpdated": "7:55 PM", "dateUpdated": "Dec 3, 2024", "totalVotes": 300411, "candidates": [ { "candidateName": "José Cisneros", "candidateIncumbent": true, "candidateParty": "", "voteCount": 300411 } ] }, "SMCountyBoardofEducationTrusteeArea4": { "id": "SMCountyBoardofEducationTrusteeArea4", "type": "localRace", "location": "San Mateo", "raceName": "County Board of Education, Trustee Area 4", "raceDescription": "Top candidate wins seat.", "raceReadTheStory": "", "raceType": "top1", "timeUpdated": "7:16 PM", "dateUpdated": "Dec 3, 2024", "totalVotes": 36397, "candidates": [ { "candidateName": "Priya Hays", "candidateIncumbent": false, "candidateParty": "", "voteCount": 10568 }, { "candidateName": "Chelsea Bonini", "candidateIncumbent": true, "candidateParty": "", "voteCount": 25829 } ] }, "SMCountyBoardofEducationTrusteeArea5": { "id": "SMCountyBoardofEducationTrusteeArea5", "type": "localRace", "location": "San Mateo", "raceName": "County Board of Education, Trustee Area 5", "raceDescription": "Top candidate wins seat.", "raceReadTheStory": "", "raceType": "top1", "timeUpdated": "7:16 PM", "dateUpdated": "Dec 3, 2024", "totalVotes": 41938, "candidates": [ { "candidateName": "Maurice Goodman", "candidateIncumbent": false, "candidateParty": "", "voteCount": 14615 }, { "candidateName": "Mike O’Neill", "candidateIncumbent": false, "candidateParty": "", "voteCount": 27323 } ] }, "SMCountyBoardofEducationTrusteeArea6": { "id": "SMCountyBoardofEducationTrusteeArea6", "type": "localRace", "location": "San Mateo", "raceName": "County Board of Education, Trustee Area 6", "raceDescription": "Top candidate wins seat.", "raceReadTheStory": "", "raceType": "top1", "timeUpdated": "7:16 PM", "dateUpdated": "Dec 3, 2024", "totalVotes": 39921, "candidates": [ { "candidateName": "Patricia Love", "candidateIncumbent": false, "candidateParty": "", "voteCount": 28085 }, { "candidateName": "Ester Adut", "candidateIncumbent": false, "candidateParty": "", "voteCount": 11836 } ] }, "SMSanMateoCountyCommunityCollegeDistrictGoverningBoardTrusteeArea1": { "id": "SMSanMateoCountyCommunityCollegeDistrictGoverningBoardTrusteeArea1", "type": "localRace", "location": "San Mateo", "raceName": "San Mateo County Community College District, Governing Board, Trustee Area 1", "raceDescription": "Top candidate wins seat.", "raceReadTheStory": "", "raceType": "top1", "timeUpdated": "7:16 PM", "dateUpdated": "Dec 3, 2024", "totalVotes": 64091, "candidates": [ { "candidateName": "Keith Holden", "candidateIncumbent": false, "candidateParty": "", "voteCount": 20270 }, { "candidateName": "Lisa A. Petrides", "candidateIncumbent": true, "candidateParty": "", "voteCount": 43821 } ] }, "SMCabrilloUnifiedSchoolDistrictGoverningBoardTrusteeAreaB": { "id": "SMCabrilloUnifiedSchoolDistrictGoverningBoardTrusteeAreaB", "type": "localRace", "location": "San Mateo", "raceName": "Cabrillo Unified School District, Governing Board, Trustee Area B", "raceDescription": "Top candidate wins seat.", "raceReadTheStory": "", "raceType": "top1", "timeUpdated": "7:16 PM", "dateUpdated": "Dec 3, 2024", "totalVotes": 2539, "candidates": [ { "candidateName": "Breanna Lafontaine", "candidateIncumbent": false, "candidateParty": "", "voteCount": 1614 }, { "candidateName": "Glenn Wilson", "candidateIncumbent": false, "candidateParty": "", "voteCount": 925 } ] }, "SMCabrilloUnifiedSchoolDistrictGoverningBoardTrusteeAreaD": { "id": "SMCabrilloUnifiedSchoolDistrictGoverningBoardTrusteeAreaD", "type": "localRace", "location": "San Mateo", "raceName": "Cabrillo Unified School District, Governing Board, Trustee Area D", "raceDescription": "Top candidate wins seat.", "raceReadTheStory": "", "raceType": "top1", "timeUpdated": "7:16 PM", "dateUpdated": "Dec 3, 2024", "totalVotes": 2588, "candidates": [ { "candidateName": "Sophia Layne", "candidateIncumbent": true, "candidateParty": "", "voteCount": 847 }, { "candidateName": "Peter Cerneka", "candidateIncumbent": false, "candidateParty": "", "voteCount": 1741 } ] }, "SMSouthSanFranciscoUnifiedSchoolDistrictGoverningBoardTrusteeAreaA": { "id": "SMSouthSanFranciscoUnifiedSchoolDistrictGoverningBoardTrusteeAreaA", "type": "localRace", "location": "San Mateo", "raceName": "South San Francisco Unified School District, Governing Board, Trustee Area A", "raceDescription": "Top candidate wins seat.", "raceReadTheStory": "", "raceType": "top1", "timeUpdated": "7:16 PM", "dateUpdated": "Dec 3, 2024", "totalVotes": 5144, "candidates": [ { "candidateName": "Patricia “Pat” Murray", "candidateIncumbent": true, "candidateParty": "", "voteCount": 4019 }, { "candidateName": "Samuel M. 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Billy Joel, Stevie Nicks to Play Co-Headlining Concert at Levi's Stadium

Art Shanks II Fought Violence With Blue-Collar Training

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