Arts & CultureArts & Culture

How Spirituality Led Richmond's King NTG Back To Hip-Hop

The rapper formerly known as Nio tha Gift stopped hustling, started praying, and rediscovered the mic.

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Korean Spicy Raw Crabs Are the Best Late-Night Snack

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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.
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More Arts

The ‘Severance’ Finale Asks: How Far Would Your Innie Go for Your Outie?

This season has found new ways to explore subjugation. Next season, we need answers about logistics.

How Spirituality Led Richmond's King NTG Back To Hip-Hop

The rapper formerly known as Nio tha Gift stopped hustling, started praying, and rediscovered the mic.

Controversial Facebook Insider Account by Former Official Has Strong First-Week Sales

The author of ‘Careless People’ is barred from promoting the book. It sold 60,000 copies in its first week.

Korean Spicy Raw Crabs Are the Best Late-Night Snack

Ondam, in Santa Clara, serves one of the best versions until 1 a.m. on weekends.

Japanese Breakfast’s Michelle Zauner On Melancholy and Her New Album

‘For Melancholy Brunettes (and Sad Women),’ out March 21, is that rare thing: a cerebral yet deeply felt album.

‘Snow White’ Is No Poisoned Apple, But It Doesn’t Whistle

Despite some gloriously lush production design, the live-action ‘Snow White’ can’t quite find its own rhythm.

Low Light Darkroom Wants to Be San Francisco’s Hub for DIY Photography

The nonprofit, volunteer-led lab for DIY photo developing will open soon near Union Square.

Funding for KQED Arts & Culture is provided by:

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.

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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=1d9618ff74", "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=6ae68d64ae", "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=5b0ae22176", "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=4b2e98099d", "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=17ea635e57e", "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_13973256": { "type": "posts", "id": "arts_13973256", "meta": { "index": "posts_1716263798", "site": "arts", "id": "13973256", "score": null, "sort": [ 1742575086000 ] }, "guestAuthors": [], "slug": "richmond-rap-king-ntg-nio-tha-gift-spirituality-hip-hop", "title": "How Spirituality Led Richmond's King NTG Back To Hip-Hop", "publishDate": 1742575086, "format": "standard", "headTitle": "How Spirituality Led Richmond’s King NTG Back To Hip-Hop | KQED", "labelTerm": { "site": "arts" }, "content": "\u003cp>Spirituality and religion aren’t readily mentioned when discussing Bay Area hip-hop, but they’ve been present since the start.\u003c/p>\n\u003cp>In the ’80s, Too Short rapped that his city “couldn’t be saved by John The Pope.” The decade after, Richie Rich suggested that “if you’re scared, go to church.” The Jacka quoted the Quran in his early 2000s lyrics, Kamaiyah praised God in her uptempo party songs in the 2010s, and three years ago, Rexx Life Raj dropped an album called \u003cem>The Blue Hour\u003c/em> about his path to spiritual enlightenment after the passing of his parents.\u003c/p>\n\u003cp>It’s just that the Bay’s belief in a higher power is often shrouded by heavy bass lines and lyrical game.\u003c/p>\n\u003cp>[aside postID='arts_13972539']The music of Richmond artist King NTG is more directly devoted to the Lord. His latest album \u003cem>Salvation\u003c/em> dropped March 16, a nod to the Bible scripture John 3:16.\u003c/p>\n\u003cp>Lyrically uplifting without being preachy or condescending, \u003cem>Salvation\u003c/em> retains the mobb and hyphy energy of Bay Area rap, complete with wisdom-filled-wordplay. And it’s clearly made with God at the center of it all.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Took out all the curse words, so I ain’t curing it / Entering my new reign, fully immersed in it,” King NTG raps on the track “No Industry Friends” — as a summation of this project and a window into where he is artistically.\u003c/p>\n\u003cfigure id=\"attachment_13973399\" class=\"wp-caption aligncenter\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13973399 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/xYg8hmfB-scaled.jpg\" alt=\"A side profile of a man in glasses overlooking the ocean.\" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/xYg8hmfB-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/xYg8hmfB-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/xYg8hmfB-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/xYg8hmfB-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/xYg8hmfB-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/xYg8hmfB-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/xYg8hmfB-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/xYg8hmfB-1920x2880.jpg 1920w\" sizes=\"auto, (max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">King NTG shares his testimony on his latest album ‘Salvation’ in hopes to reach those who need some inspiration. \u003ccite>(NOBL)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Throughout the album, King NTG, formerly known as Nio The Gift, tells how he found his personal salvation. After experiencing a taste of rap stardom at a young age, living the fast life came to a slow end. He soon learned to focus on family, mentorship and God, and came back to hip-hop to share his blessings.\u003c/p>\n\u003cp>In 2006, just after \u003ca href=\"https://www.cbc.ca/news/entertainment/china-nixes-jay-z-concert-over-vulgar-language-1.626571\" target=\"_blank\" rel=\"noopener\">China’s Ministry of Culture banned Jay-Z\u003c/a> from performing in the country, a young Nio The Gift got the green light to perform and distribute his music \u003ca href=\"https://www.xxlmag.com/the-break-presents-nio-tha-gift/?utm_source=tsmclip&utm_medium=referral\" target=\"_blank\" rel=\"noopener\">in the Chinese providence of Guangzhou\u003c/a>; the first independent hip-hop artist from the U.S. to do so.\u003c/p>\n\u003cp>[aside postID='arts_13972732']“I got back from China,” King NTG tells me during a recent phone call, “and I hit the ground running … people started to find out what I had done internationally before I was even local.”\u003c/p>\n\u003cp>He dropped a series of projects, including his 2009 album \u003cem>H.I.P.H.O.P. (Here I Present a Hero of Poverty)\u003c/em> and the 2010 album \u003cem>Super Hero\u003c/em>. He worked with rising West Coast rappers of the era, including \u003ca href=\"https://www.youtube.com/watch?v=dmjBXy3C3YE\" target=\"_blank\" rel=\"noopener\">Fresno’s Fashawn\u003c/a>, \u003ca href=\"https://soundcloud.com/thethizzler/erk-tha-jerk-x-symba-x-nio-tha-gift-magic-spell-prod-smka-thizzlercom?in=gabe-rein/sets/true-lyf\" target=\"_blank\" rel=\"noopener\">Richmond’s Erk Tha Jerk, Antioch’s Symba\u003c/a> and Oakland’s \u003ca href=\"https://www.youtube.com/watch?v=L8zIAC3yDVI\">Mistah F.A.B.\u003c/a>\u003c/p>\n\u003cp>“I was the young gun on the scene,” he recalls of his early 20s. “I was getting so much love from everybody who was out there.” And then life started to catch up with him. “I was still kind of one-foot-in, one-foot-out of good and bad decisions in my life,” he reflects.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=roCrwaDzaDA\u003c/p>\n\u003cp>After the birth of his first son, King NTG was still trying to figure out life, let alone a music career. “And, you know,” he says with an exhale, “that was when things started to kind of slow down and take a turn.”\u003c/p>\n\u003cp>Violence and murder in his hometown of Richmond \u003ca href=\"https://www.macrotrends.net/global-metrics/cities/us/ca/richmond/murder-homicide-rate-statistics\" target=\"_blank\" rel=\"noopener\">spiked in 2007 and 2009\u003c/a>, and rapping was a way out. He began feeling the pressure to succeed as a hip-hop artist. His name was ringing bells, but funding a rap career is expensive business.\u003ci>\u003c/i>\u003c/p>\n\u003cp>“The studio time costs, beats cost, you got to print up CDs,” he says. “When you find out that music and pursuing your dreams comes with a cost, you start hustling a little bit harder.” He even titled his 2012 album \u003cem>The Hustler’s Spirit\u003c/em>.\u003c/p>\n\u003cp>But as Nio the Gift, he realized that no matter how hard he hustled, it wasn’t working. So he backed away from rapping and, discouraged and depressed, returned to the proverbial drawing board.\u003c/p>\n\u003cp>“I wanted to come back evolved, I wanted to grow,” he says of his personal reassessment. “Nio tha Gift is one person, but \u003cem>who am I\u003c/em>?”\u003c/p>\n\u003cfigure id=\"attachment_13973400\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13973400 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/tHDKr6vm-scaled.jpg\" alt=\"A close-up of a man's tattooed hands, clasped together. \" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/tHDKr6vm-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/tHDKr6vm-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/tHDKr6vm-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/tHDKr6vm-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/tHDKr6vm-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/tHDKr6vm-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/tHDKr6vm-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/tHDKr6vm-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">King NTG has “God is real” tattooed on his right hand and “Real is God” on his left. \u003ccite>(NOBL)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He got married and expanded his family, started coaching youth basketball and began mentoring young men in group homes. “I could identify with their struggle,” he attests. “I could identify with what it felt like to take chances, to be exposed to violence, to participate in violence, to grow from those things, learn from those things. And, you know, I turned my life completely around.”\u003c/p>\n\u003cp>On the new song “Not For Sale” (featuring \u003ca href=\"https://www.instagram.com/champgreen/\" target=\"_blank\" rel=\"noopener\">Champ Green\u003c/a> and \u003ca href=\"https://www.instagram.com/imdbledsoe/\" target=\"_blank\" rel=\"noopener\">D. Bledsoe\u003c/a>), King NTG raps, “Neon in my aura, treating life like mi amor/ era of my second prime, like I’m Deion and Shedeur.”\u003c/p>\n\u003cp>It’s one of a few instances where he references the transition he’s made, and what he’s doing with his newfound perspective.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=lqjxRplc70s\u003c/p>\n\u003cp>The clearest examples are the songs “Living My Truth” (Part 1 and Part 2), as well as “Flowers,” in which he discusses dealing with pistols, broken romantic relationships and emerging from the shadow of his brother, former NBA player \u003ca href=\"https://www.basketball-reference.com/players/g/goodedr01.html\" target=\"_blank\" rel=\"noopener\">Drew Gooden\u003c/a>.\u003c/p>\n\u003cp>Over production from Ekzakt, F1rst Class, The Mekanix and Vidal Garcia, the album features vocalists \u003ca href=\"https://www.instagram.com/two14rr/\" target=\"_blank\" rel=\"noopener\">Two14\u003c/a>, \u003ca href=\"https://www.instagram.com/semioddo/\" target=\"_blank\" rel=\"noopener\">Yung Semi\u003c/a> and \u003ca href=\"https://www.instagram.com/gabbyrose_music/\" target=\"_blank\" rel=\"noopener\">Gabby Rose\u003c/a>. There’s verses from \u003ca href=\"https://www.instagram.com/manidraper/\" target=\"_blank\" rel=\"noopener\">Mani Draper\u003c/a>, \u003ca href=\"https://www.instagram.com/firstnameian/\" target=\"_blank\" rel=\"noopener\">Ian Kelly\u003c/a> and \u003ca href=\"https://www.instagram.com/tcarriermusic/\" target=\"_blank\" rel=\"noopener\">T. Carriér,\u003c/a> and even some bars from \u003ca href=\"https://www.instagram.com/thejankgod/\" target=\"_blank\" rel=\"noopener\">B*Janky\u003c/a> of the \u003ca href=\"https://www.instagram.com/officialtrunkboiz/\" target=\"_blank\" rel=\"noopener\">Trunk Boiz\u003c/a> on the hyphy era retrospective “You Had To Be There.”\u003c/p>\n\u003cp>In “One Life,” featuring \u003ca href=\"https://www.instagram.com/4rax_of_themekanix/\" target=\"_blank\" rel=\"noopener\">4 rAx of The Mekanix\u003c/a>, King NTG speaks about a constant theme in his work: being a super hero.\u003c/p>\n\u003cp>“My gift has always been to be light in darkness,” he says. “To instill hope in people that seemed hopeless, and to inspire.” Noting that his mission is just to reach one person, he dreams aloud and says, “Imagine God greeting me with ‘Job well done.’”\u003c/p>\n\u003cfigure id=\"attachment_13973310\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13973310\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/DSCF7231Ivan_-scaled.jpg\" alt=\"A silhouette image of a man standing with his arms spread, overlooking a big body of water on a sunny day.\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/DSCF7231Ivan_-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/DSCF7231Ivan_-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/DSCF7231Ivan_-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/DSCF7231Ivan_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/DSCF7231Ivan_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/DSCF7231Ivan_-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/DSCF7231Ivan_-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/DSCF7231Ivan_-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">King NTG’s latest album ‘Salvation’ is out now. \u003ccite>(NOBL)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Between the album’s 15 songs are three interludes that feature \u003ca href=\"https://tyroncarter.com/\" target=\"_blank\" rel=\"noopener\">Pastor Tyron Carter\u003c/a>, a childhood friend of King NTG. The two were born a month apart — they grew up in the same city, went to the same school, played on the same basketball team and had the same struggles, but took two different paths in life.\u003c/p>\n\u003cp>In high school, the friends separated as King NTG moved. While Carter went to college, King NTG pursued a rap career funded by the streets. The two reconnected as adults when Carter invited King NTG to be a witness for his wedding. (Years later, King NTG would invite Carter to be the officiant at his own wedding.)\u003c/p>\n\u003cp>Through this reconnection King NTG was reintroduced to the word of God. Inviting the pastor to participate in the album was less about repaying a personal debt and more about the listener: “If the people can’t make it to church, I want church to come to the people.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>In talking with King NTG, and listening to \u003cem>Salvation\u003c/em>, one thing becomes clear: his spiritual path isn’t a solo sojourn, but something he’s done with the support of others, and he’s taken that momentum to reach the next generation of those who need inspiration.\u003c/p>\n\n", "blocks": [], "excerpt": "The rapper formerly known as Nio tha Gift stopped hustling, started praying, and rediscovered the mic. ", "status": "publish", "parent": 0, "modified": 1742575315, "stats": { "hasAudio": false, "hasVideo": true, "hasChartOrMap": false, "iframeSrcs": [], "hasGoogleForm": false, "hasGallery": false, "hasHearkenModule": false, "hasPolis": false, "paragraphCount": 29, "wordCount": 1349 }, "headData": { "title": "How Spirituality Led Richmond's King NTG Back To Hip-Hop | KQED", "description": "The rapper formerly known as Nio tha Gift stopped hustling, started praying, and rediscovered the mic. ", "ogTitle": "", "ogDescription": "", "ogImgId": "", "twTitle": "", "twDescription": "", "twImgId": "", "schema": { "@context": "http://schema.org", "@type": "Article", "headline": "How Spirituality Led Richmond's King NTG Back To Hip-Hop", "datePublished": "2025-03-21T09:38:06-07:00", "dateModified": "2025-03-21T09:41:55-07:00", "image": "https://cdn.kqed.org/wp-content/uploads/2020/02/[email protected]" } }, "sticky": false, "nprStoryId": "kqed-13973256", "templateType": "standard", "featuredImageType": "standard", "excludeFromSiteSearch": "Include", "articleAge": "0", "path": "/arts/13973256/richmond-rap-king-ntg-nio-tha-gift-spirituality-hip-hop", "audioTrackLength": null, "parsedContent": [ { "type": "contentString", "content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Spirituality and religion aren’t readily mentioned when discussing Bay Area hip-hop, but they’ve been present since the start.\u003c/p>\n\u003cp>In the ’80s, Too Short rapped that his city “couldn’t be saved by John The Pope.” The decade after, Richie Rich suggested that “if you’re scared, go to church.” The Jacka quoted the Quran in his early 2000s lyrics, Kamaiyah praised God in her uptempo party songs in the 2010s, and three years ago, Rexx Life Raj dropped an album called \u003cem>The Blue Hour\u003c/em> about his path to spiritual enlightenment after the passing of his parents.\u003c/p>\n\u003cp>It’s just that the Bay’s belief in a higher power is often shrouded by heavy bass lines and lyrical game.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>", "attributes": { "named": {}, "numeric": [] } }, { "type": "component", "content": "", "name": "aside", "attributes": { "named": { "postid": "arts_13972539", "label": "" }, "numeric": [] } }, { "type": "contentString", "content": "\u003cdiv class=\"post-body\">\u003cp>The music of Richmond artist King NTG is more directly devoted to the Lord. His latest album \u003cem>Salvation\u003c/em> dropped March 16, a nod to the Bible scripture John 3:16.\u003c/p>\n\u003cp>Lyrically uplifting without being preachy or condescending, \u003cem>Salvation\u003c/em> retains the mobb and hyphy energy of Bay Area rap, complete with wisdom-filled-wordplay. And it’s clearly made with God at the center of it all.\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>“Took out all the curse words, so I ain’t curing it / Entering my new reign, fully immersed in it,” King NTG raps on the track “No Industry Friends” — as a summation of this project and a window into where he is artistically.\u003c/p>\n\u003cfigure id=\"attachment_13973399\" class=\"wp-caption aligncenter\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13973399 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/xYg8hmfB-scaled.jpg\" alt=\"A side profile of a man in glasses overlooking the ocean.\" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/xYg8hmfB-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/xYg8hmfB-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/xYg8hmfB-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/xYg8hmfB-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/xYg8hmfB-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/xYg8hmfB-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/xYg8hmfB-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/xYg8hmfB-1920x2880.jpg 1920w\" sizes=\"auto, (max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">King NTG shares his testimony on his latest album ‘Salvation’ in hopes to reach those who need some inspiration. \u003ccite>(NOBL)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Throughout the album, King NTG, formerly known as Nio The Gift, tells how he found his personal salvation. After experiencing a taste of rap stardom at a young age, living the fast life came to a slow end. He soon learned to focus on family, mentorship and God, and came back to hip-hop to share his blessings.\u003c/p>\n\u003cp>In 2006, just after \u003ca href=\"https://www.cbc.ca/news/entertainment/china-nixes-jay-z-concert-over-vulgar-language-1.626571\" target=\"_blank\" rel=\"noopener\">China’s Ministry of Culture banned Jay-Z\u003c/a> from performing in the country, a young Nio The Gift got the green light to perform and distribute his music \u003ca href=\"https://www.xxlmag.com/the-break-presents-nio-tha-gift/?utm_source=tsmclip&utm_medium=referral\" target=\"_blank\" rel=\"noopener\">in the Chinese providence of Guangzhou\u003c/a>; the first independent hip-hop artist from the U.S. to do so.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>", "attributes": { "named": {}, "numeric": [] } }, { "type": "component", "content": "", "name": "aside", "attributes": { "named": { "postid": "arts_13972732", "label": "" }, "numeric": [] } }, { "type": "contentString", "content": "\u003cdiv class=\"post-body\">\u003cp>“I got back from China,” King NTG tells me during a recent phone call, “and I hit the ground running … people started to find out what I had done internationally before I was even local.”\u003c/p>\n\u003cp>He dropped a series of projects, including his 2009 album \u003cem>H.I.P.H.O.P. (Here I Present a Hero of Poverty)\u003c/em> and the 2010 album \u003cem>Super Hero\u003c/em>. He worked with rising West Coast rappers of the era, including \u003ca href=\"https://www.youtube.com/watch?v=dmjBXy3C3YE\" target=\"_blank\" rel=\"noopener\">Fresno’s Fashawn\u003c/a>, \u003ca href=\"https://soundcloud.com/thethizzler/erk-tha-jerk-x-symba-x-nio-tha-gift-magic-spell-prod-smka-thizzlercom?in=gabe-rein/sets/true-lyf\" target=\"_blank\" rel=\"noopener\">Richmond’s Erk Tha Jerk, Antioch’s Symba\u003c/a> and Oakland’s \u003ca href=\"https://www.youtube.com/watch?v=L8zIAC3yDVI\">Mistah F.A.B.\u003c/a>\u003c/p>\n\u003cp>“I was the young gun on the scene,” he recalls of his early 20s. “I was getting so much love from everybody who was out there.” And then life started to catch up with him. “I was still kind of one-foot-in, one-foot-out of good and bad decisions in my life,” he reflects.\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/roCrwaDzaDA'\n title='//www.youtube.com/embed/roCrwaDzaDA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>After the birth of his first son, King NTG was still trying to figure out life, let alone a music career. “And, you know,” he says with an exhale, “that was when things started to kind of slow down and take a turn.”\u003c/p>\n\u003cp>Violence and murder in his hometown of Richmond \u003ca href=\"https://www.macrotrends.net/global-metrics/cities/us/ca/richmond/murder-homicide-rate-statistics\" target=\"_blank\" rel=\"noopener\">spiked in 2007 and 2009\u003c/a>, and rapping was a way out. He began feeling the pressure to succeed as a hip-hop artist. His name was ringing bells, but funding a rap career is expensive business.\u003ci>\u003c/i>\u003c/p>\n\u003cp>“The studio time costs, beats cost, you got to print up CDs,” he says. “When you find out that music and pursuing your dreams comes with a cost, you start hustling a little bit harder.” He even titled his 2012 album \u003cem>The Hustler’s Spirit\u003c/em>.\u003c/p>\n\u003cp>But as Nio the Gift, he realized that no matter how hard he hustled, it wasn’t working. So he backed away from rapping and, discouraged and depressed, returned to the proverbial drawing board.\u003c/p>\n\u003cp>“I wanted to come back evolved, I wanted to grow,” he says of his personal reassessment. “Nio tha Gift is one person, but \u003cem>who am I\u003c/em>?”\u003c/p>\n\u003cfigure id=\"attachment_13973400\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13973400 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/tHDKr6vm-scaled.jpg\" alt=\"A close-up of a man's tattooed hands, clasped together. \" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/tHDKr6vm-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/tHDKr6vm-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/tHDKr6vm-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/tHDKr6vm-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/tHDKr6vm-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/tHDKr6vm-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/tHDKr6vm-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/tHDKr6vm-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">King NTG has “God is real” tattooed on his right hand and “Real is God” on his left. \u003ccite>(NOBL)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He got married and expanded his family, started coaching youth basketball and began mentoring young men in group homes. “I could identify with their struggle,” he attests. “I could identify with what it felt like to take chances, to be exposed to violence, to participate in violence, to grow from those things, learn from those things. And, you know, I turned my life completely around.”\u003c/p>\n\u003cp>On the new song “Not For Sale” (featuring \u003ca href=\"https://www.instagram.com/champgreen/\" target=\"_blank\" rel=\"noopener\">Champ Green\u003c/a> and \u003ca href=\"https://www.instagram.com/imdbledsoe/\" target=\"_blank\" rel=\"noopener\">D. Bledsoe\u003c/a>), King NTG raps, “Neon in my aura, treating life like mi amor/ era of my second prime, like I’m Deion and Shedeur.”\u003c/p>\n\u003cp>It’s one of a few instances where he references the transition he’s made, and what he’s doing with his newfound perspective.\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/lqjxRplc70s'\n title='//www.youtube.com/embed/lqjxRplc70s'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The clearest examples are the songs “Living My Truth” (Part 1 and Part 2), as well as “Flowers,” in which he discusses dealing with pistols, broken romantic relationships and emerging from the shadow of his brother, former NBA player \u003ca href=\"https://www.basketball-reference.com/players/g/goodedr01.html\" target=\"_blank\" rel=\"noopener\">Drew Gooden\u003c/a>.\u003c/p>\n\u003cp>Over production from Ekzakt, F1rst Class, The Mekanix and Vidal Garcia, the album features vocalists \u003ca href=\"https://www.instagram.com/two14rr/\" target=\"_blank\" rel=\"noopener\">Two14\u003c/a>, \u003ca href=\"https://www.instagram.com/semioddo/\" target=\"_blank\" rel=\"noopener\">Yung Semi\u003c/a> and \u003ca href=\"https://www.instagram.com/gabbyrose_music/\" target=\"_blank\" rel=\"noopener\">Gabby Rose\u003c/a>. There’s verses from \u003ca href=\"https://www.instagram.com/manidraper/\" target=\"_blank\" rel=\"noopener\">Mani Draper\u003c/a>, \u003ca href=\"https://www.instagram.com/firstnameian/\" target=\"_blank\" rel=\"noopener\">Ian Kelly\u003c/a> and \u003ca href=\"https://www.instagram.com/tcarriermusic/\" target=\"_blank\" rel=\"noopener\">T. Carriér,\u003c/a> and even some bars from \u003ca href=\"https://www.instagram.com/thejankgod/\" target=\"_blank\" rel=\"noopener\">B*Janky\u003c/a> of the \u003ca href=\"https://www.instagram.com/officialtrunkboiz/\" target=\"_blank\" rel=\"noopener\">Trunk Boiz\u003c/a> on the hyphy era retrospective “You Had To Be There.”\u003c/p>\n\u003cp>In “One Life,” featuring \u003ca href=\"https://www.instagram.com/4rax_of_themekanix/\" target=\"_blank\" rel=\"noopener\">4 rAx of The Mekanix\u003c/a>, King NTG speaks about a constant theme in his work: being a super hero.\u003c/p>\n\u003cp>“My gift has always been to be light in darkness,” he says. “To instill hope in people that seemed hopeless, and to inspire.” Noting that his mission is just to reach one person, he dreams aloud and says, “Imagine God greeting me with ‘Job well done.’”\u003c/p>\n\u003cfigure id=\"attachment_13973310\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13973310\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/DSCF7231Ivan_-scaled.jpg\" alt=\"A silhouette image of a man standing with his arms spread, overlooking a big body of water on a sunny day.\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/DSCF7231Ivan_-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/DSCF7231Ivan_-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/DSCF7231Ivan_-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/DSCF7231Ivan_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/DSCF7231Ivan_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/DSCF7231Ivan_-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/DSCF7231Ivan_-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/DSCF7231Ivan_-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">King NTG’s latest album ‘Salvation’ is out now. \u003ccite>(NOBL)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Between the album’s 15 songs are three interludes that feature \u003ca href=\"https://tyroncarter.com/\" target=\"_blank\" rel=\"noopener\">Pastor Tyron Carter\u003c/a>, a childhood friend of King NTG. The two were born a month apart — they grew up in the same city, went to the same school, played on the same basketball team and had the same struggles, but took two different paths in life.\u003c/p>\n\u003cp>In high school, the friends separated as King NTG moved. While Carter went to college, King NTG pursued a rap career funded by the streets. The two reconnected as adults when Carter invited King NTG to be a witness for his wedding. (Years later, King NTG would invite Carter to be the officiant at his own wedding.)\u003c/p>\n\u003cp>Through this reconnection King NTG was reintroduced to the word of God. Inviting the pastor to participate in the album was less about repaying a personal debt and more about the listener: “If the people can’t make it to church, I want church to come to the people.”\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>In talking with King NTG, and listening to \u003cem>Salvation\u003c/em>, one thing becomes clear: his spiritual path isn’t a solo sojourn, but something he’s done with the support of others, and he’s taken that momentum to reach the next generation of those who need inspiration.\u003c/p>\n\n\u003c/div>\u003c/p>", "attributes": { "named": {}, "numeric": [] } } ], "link": "/arts/13973256/richmond-rap-king-ntg-nio-tha-gift-spirituality-hip-hop", "authors": [ "11491" ], "categories": [ "arts_1", "arts_69" ], "tags": [ "arts_10278", "arts_831", "arts_22382", "arts_2479" ], "featImg": "arts_13973314", "label": "arts" }, "arts_13973454": { "type": "posts", "id": "arts_13973454", "meta": { "index": "posts_1716263798", "site": "arts", "id": "13973454", "score": null, "sort": [ 1742590594000 ] }, "guestAuthors": [], "slug": "severance-season-finale-death", "title": "The ‘Severance’ Finale Asks: How Far Would Your Innie Go for Your Outie?", "publishDate": 1742590594, "format": "standard", "headTitle": "The ‘Severance’ Finale Asks: How Far Would Your Innie Go for Your Outie? | KQED", "labelTerm": { "site": "arts" }, "content": "\u003cp>\u003cem>\u003ca href=\"https://www.kqed.org/arts/13970452/season-two-severance-review-apple-tv-corporate-critique-ben-stiller\">Severance\u003c/a>\u003c/em>’s Season 2 finale asks a powerful question: If there was another version of you — and that version could help save someone you love by dying — would you ask them to do it?\u003c/p>\n\u003cp>And would that other version of you \u003cem>actually \u003c/em>do it?\u003c/p>\n\u003cp>These are the wonderfully absurd tensions at the heart of the show’s season finale, dubbed “Cold Harbor.” It’s the culmination of a bold progression of episodes that deftly built out the program’s depressing, visually arresting world and the hapless characters caught within it – in the process, crafting Apple TV+’s most-watched series globally. The streamer has already announced it’s picked up a third season.\u003c/p>\n\u003cp>The premise, for those still catching up, centers on workers for a mysterious, cult-like company called Lumon Industries who have had a medical procedure that severs their work memories from any recollection of what happens outside the office.\u003c/p>\n\u003cp>But instead of providing the perfect work-life balance, those affected are split into two separate consciousnesses — “innies” and “outies.” The world of the innies is mostly confined to a windowless office at Lumon, with days that start at 9 a.m. and end at 5 p.m.\u003c/p>\n\u003cfigure id=\"attachment_13973459\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Severance1.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13973459\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Severance1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Severance1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Severance1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Severance1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Severance1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Severance1-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Severance1-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Helly (Britt Lower). \u003ccite>(Apple TV+)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The show’s second season leaned into the notion of innies as an oppressed class, exploring their fight for freedom while pursuing a central mystery. Adam Scott’s Mark Scout, who turned to a job on Lumon’s “severed floor” after his wife, Gemma, died in a car accident, learned she is actually alive and held somewhere inside the company.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>To find her, Mark had brain surgery, trying to re-integrate his two personalities. When that failed, he found another way, in the second season finale, to initiate a bizarre debate between his inner and outer selves aimed at rescuing his wife – revealing that “innie” Mark doesn’t really trust his outside personality to be honest or to value his existence.\u003c/p>\n\u003cp>I’m always fascinated by new ways storytellers find to talk about the plight of subjugated people. And the fight for all the “innie” personalities at Lumon to somehow free themselves from the company’s control – while also hoping for a solution that keeps them from getting erased if their “outie” is fired by the company – speaks to the terrible extremes many people oppressed in real life must negotiate.\u003c/p>\n\u003cp>[aside postID='arts_13973287']\u003c/p>\n\u003cp>The innies of \u003cem>Severance\u003c/em> are a distinctly oppressed class – mostly average folks subjugated by a company whose bizarre rituals were partly \u003ca href=\"https://www.nytimes.com/2022/05/04/style/severance-props-catherine-miller.html\" target=\"_blank\">\u003cu>inspired by real-life organizations like the Church of Scientology\u003c/u>\u003c/a>. But these innies are also betrayed by their own outside counterparts, who prioritize their outside concerns and don’t seem to grasp how Lumon’s procedure may have created a new form of life.\u003c/p>\n\u003cp>And if you are, like the innies, literally defined by work, what does freedom even look like?\u003c/p>\n\u003cp>As fuel for this trippy tale, director-executive producer Ben Stiller and his crew have developed a creatively distinct and meticulously crafted style for the show – from visuals centered on bleak blues, dark hues and blinding white tones, to an expertly curated soundtrack featuring surprising songs like “Burnin’ Coal” by Les McCann and a version of “Windmills of Your Mind” by Mel Torme. (\u003cem>Severance\u003c/em> is the first TV show in a long time that has inspired me to keep a smartphone with the song-identifying app Shazam handy.)\u003c/p>\n\u003cp>Adding to all this excellence is spot-on casting and wonderfully inspired guest appearances. Scott is doing the best work of his career playing an exasperated, charming everyman in Mark; Britt Lower nimbly navigates the steely rebellion of innie Helly R. and the cold calculation of her outie, company bigwig Helena Eagan. Zach Cherry has leavened his side splitting comedic chops with a poignant take on Dylan G., perhaps the only character who may be more successful inside Lumon than outside.\u003c/p>\n\u003cp>And the scene-stealing performances by Tramell Tillman as tightly-wound company man Seth Milchick remind me of the moment I tuned into a show called \u003cem>Fear the Walking Dead\u003c/em> and was riveted by an actor I’d never seen before: Colman Domingo.\u003c/p>\n\u003cfigure id=\"attachment_13973460\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Severance2.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13973460\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Severance2.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Severance2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Severance2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Severance2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Severance2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Severance2-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Severance2-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Dylan (Zach Cherry) and Tramell Tillman (Mr. Milchick). \u003ccite>(Apple TV+)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This season, we’ve been treated to delightful guest appearances from Sandra Bernhard, Jane Alexander, John Noble, Alia Shawkat\u003cem>, Game of Thrones\u003c/em> alum Gwendoline Christie and consummate character actor Bob Balaban. I feel sorry for anybody else trying to get noticed in the Emmys’ supporting and guest acting categories this year.\u003c/p>\n\u003cp>(I know: I’m leaving out John Turturro as tortured romantic innie Irving B., Patricia Arquette as icy villain-turned-ally Harmony Cobel, Robby Benson as weird corporate physician Dr. Mauer, Christopher Walken as Irving’s love interest Burt G., Dichen Lachman as Mark’s missing wife Gemma and many, many more awesome performers).\u003c/p>\n\u003cp>Not since the early seasons of \u003cem>Lost\u003c/em> has a TV show so deftly balanced quirky storytelling touches added for style and crucial details needed to understand the unfolding plot.\u003c/p>\n\u003cp>Still, with all its quality, \u003cem>Severance d\u003c/em>oesn’t grapple much with one question: Are these severed staffers truly two different beings in one? Or is each one just a troubled person, deluded by merciless indoctrination and an invasive brain implant into believing they have a divided existence?\u003c/p>\n\u003cp>Given how open-ended this week’s episode concludes, I’m hopeful this is an idea they’ll explore in their next, truly amazing season. Because \u003cem>Severance\u003c/em> has so far offered a thrilling, smartly-crafted meditation on life, grief, oppression, privilege, class and corporate life with few equals in today’s TV landscape.\u003c/p>\n\u003cp>And I can’t wait to see where they’ll take us next.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Copyright © 2025 NPR\u003c/em>\u003c/p>\n\n", "blocks": [], "excerpt": "This season has found new ways to explore subjugation. Next season, we need answers about logistics.", "status": "publish", "parent": 0, "modified": 1742590594, "stats": { "hasAudio": false, "hasVideo": false, "hasChartOrMap": false, "iframeSrcs": [], "hasGoogleForm": false, "hasGallery": false, "hasHearkenModule": false, "hasPolis": false, "paragraphCount": 23, "wordCount": 1010 }, "headData": { "title": "The ‘Severance’ Finale Asks: How Far Would Your Innie Go for Your Outie? | KQED", "description": "This season has found new ways to explore subjugation. Next season, we need answers about logistics.", "ogTitle": "", "ogDescription": "", "ogImgId": "", "twTitle": "", "twDescription": "", "twImgId": "", "schema": { "@context": "http://schema.org", "@type": "Article", "headline": "The ‘Severance’ Finale Asks: How Far Would Your Innie Go for Your Outie?", "datePublished": "2025-03-21T13:56:34-07:00", "dateModified": "2025-03-21T13:56:34-07:00", "image": "https://cdn.kqed.org/wp-content/uploads/2020/02/[email protected]" } }, "sticky": false, "nprByline": "Eric Deggans, NPR", "nprStoryId": "nx-s1-5333849", "nprHtmlLink": "https://www.npr.org/2025/03/21/nx-s1-5333849/severance-finale-review", "nprRetrievedStory": "1", "nprPubDate": "2025-03-21T12:03:01.249-04:00", "nprStoryDate": "2025-03-21T12:03:01.249-04:00", "nprLastModifiedDate": "2025-03-21T12:03:01.249-04:00", "templateType": "standard", "featuredImageType": "standard", "excludeFromSiteSearch": "Include", "showOnAuthorArchivePages": "No", "articleAge": "0", "path": "/arts/13973454/severance-season-finale-death", "audioTrackLength": null, "parsedContent": [ { "type": "contentString", "content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003ca href=\"https://www.kqed.org/arts/13970452/season-two-severance-review-apple-tv-corporate-critique-ben-stiller\">Severance\u003c/a>\u003c/em>’s Season 2 finale asks a powerful question: If there was another version of you — and that version could help save someone you love by dying — would you ask them to do it?\u003c/p>\n\u003cp>And would that other version of you \u003cem>actually \u003c/em>do it?\u003c/p>\n\u003cp>These are the wonderfully absurd tensions at the heart of the show’s season finale, dubbed “Cold Harbor.” It’s the culmination of a bold progression of episodes that deftly built out the program’s depressing, visually arresting world and the hapless characters caught within it – in the process, crafting Apple TV+’s most-watched series globally. The streamer has already announced it’s picked up a third season.\u003c/p>\n\u003cp>The premise, for those still catching up, centers on workers for a mysterious, cult-like company called Lumon Industries who have had a medical procedure that severs their work memories from any recollection of what happens outside the office.\u003c/p>\n\u003cp>But instead of providing the perfect work-life balance, those affected are split into two separate consciousnesses — “innies” and “outies.” The world of the innies is mostly confined to a windowless office at Lumon, with days that start at 9 a.m. and end at 5 p.m.\u003c/p>\n\u003cfigure id=\"attachment_13973459\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Severance1.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13973459\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Severance1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Severance1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Severance1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Severance1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Severance1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Severance1-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Severance1-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Helly (Britt Lower). \u003ccite>(Apple TV+)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The show’s second season leaned into the notion of innies as an oppressed class, exploring their fight for freedom while pursuing a central mystery. Adam Scott’s Mark Scout, who turned to a job on Lumon’s “severed floor” after his wife, Gemma, died in a car accident, learned she is actually alive and held somewhere inside the company.\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>To find her, Mark had brain surgery, trying to re-integrate his two personalities. When that failed, he found another way, in the second season finale, to initiate a bizarre debate between his inner and outer selves aimed at rescuing his wife – revealing that “innie” Mark doesn’t really trust his outside personality to be honest or to value his existence.\u003c/p>\n\u003cp>I’m always fascinated by new ways storytellers find to talk about the plight of subjugated people. And the fight for all the “innie” personalities at Lumon to somehow free themselves from the company’s control – while also hoping for a solution that keeps them from getting erased if their “outie” is fired by the company – speaks to the terrible extremes many people oppressed in real life must negotiate.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>", "attributes": { "named": {}, "numeric": [] } }, { "type": "component", "content": "", "name": "aside", "attributes": { "named": { "postid": "arts_13973287", "label": "" }, "numeric": [] } }, { "type": "contentString", "content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The innies of \u003cem>Severance\u003c/em> are a distinctly oppressed class – mostly average folks subjugated by a company whose bizarre rituals were partly \u003ca href=\"https://www.nytimes.com/2022/05/04/style/severance-props-catherine-miller.html\" target=\"_blank\">\u003cu>inspired by real-life organizations like the Church of Scientology\u003c/u>\u003c/a>. But these innies are also betrayed by their own outside counterparts, who prioritize their outside concerns and don’t seem to grasp how Lumon’s procedure may have created a new form of life.\u003c/p>\n\u003cp>And if you are, like the innies, literally defined by work, what does freedom even look like?\u003c/p>\n\u003cp>As fuel for this trippy tale, director-executive producer Ben Stiller and his crew have developed a creatively distinct and meticulously crafted style for the show – from visuals centered on bleak blues, dark hues and blinding white tones, to an expertly curated soundtrack featuring surprising songs like “Burnin’ Coal” by Les McCann and a version of “Windmills of Your Mind” by Mel Torme. (\u003cem>Severance\u003c/em> is the first TV show in a long time that has inspired me to keep a smartphone with the song-identifying app Shazam handy.)\u003c/p>\n\u003cp>Adding to all this excellence is spot-on casting and wonderfully inspired guest appearances. Scott is doing the best work of his career playing an exasperated, charming everyman in Mark; Britt Lower nimbly navigates the steely rebellion of innie Helly R. and the cold calculation of her outie, company bigwig Helena Eagan. Zach Cherry has leavened his side splitting comedic chops with a poignant take on Dylan G., perhaps the only character who may be more successful inside Lumon than outside.\u003c/p>\n\u003cp>And the scene-stealing performances by Tramell Tillman as tightly-wound company man Seth Milchick remind me of the moment I tuned into a show called \u003cem>Fear the Walking Dead\u003c/em> and was riveted by an actor I’d never seen before: Colman Domingo.\u003c/p>\n\u003cfigure id=\"attachment_13973460\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Severance2.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13973460\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Severance2.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Severance2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Severance2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Severance2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Severance2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Severance2-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Severance2-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Dylan (Zach Cherry) and Tramell Tillman (Mr. Milchick). \u003ccite>(Apple TV+)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This season, we’ve been treated to delightful guest appearances from Sandra Bernhard, Jane Alexander, John Noble, Alia Shawkat\u003cem>, Game of Thrones\u003c/em> alum Gwendoline Christie and consummate character actor Bob Balaban. I feel sorry for anybody else trying to get noticed in the Emmys’ supporting and guest acting categories this year.\u003c/p>\n\u003cp>(I know: I’m leaving out John Turturro as tortured romantic innie Irving B., Patricia Arquette as icy villain-turned-ally Harmony Cobel, Robby Benson as weird corporate physician Dr. Mauer, Christopher Walken as Irving’s love interest Burt G., Dichen Lachman as Mark’s missing wife Gemma and many, many more awesome performers).\u003c/p>\n\u003cp>Not since the early seasons of \u003cem>Lost\u003c/em> has a TV show so deftly balanced quirky storytelling touches added for style and crucial details needed to understand the unfolding plot.\u003c/p>\n\u003cp>Still, with all its quality, \u003cem>Severance d\u003c/em>oesn’t grapple much with one question: Are these severed staffers truly two different beings in one? Or is each one just a troubled person, deluded by merciless indoctrination and an invasive brain implant into believing they have a divided existence?\u003c/p>\n\u003cp>Given how open-ended this week’s episode concludes, I’m hopeful this is an idea they’ll explore in their next, truly amazing season. Because \u003cem>Severance\u003c/em> has so far offered a thrilling, smartly-crafted meditation on life, grief, oppression, privilege, class and corporate life with few equals in today’s TV landscape.\u003c/p>\n\u003cp>And I can’t wait to see where they’ll take us next.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Copyright © 2025 NPR\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>", "attributes": { "named": {}, "numeric": [] } } ], "link": "/arts/13973454/severance-season-finale-death", "authors": [ "byline_arts_13973454" ], "categories": [ "arts_1", "arts_75", "arts_990" ], "tags": [ "arts_769" ], "featImg": "arts_13973455", "label": "arts" }, "arts_13973446": { "type": "posts", "id": "arts_13973446", "meta": { "index": "posts_1716263798", "site": "arts", "id": "13973446", "score": null, "sort": [ 1742572741000 ] }, "guestAuthors": [], "slug": "facebook-book-memoir-careless-people-sales", "title": "Controversial Facebook Insider Account by Former Official Has Strong First-Week Sales", "publishDate": 1742572741, "format": "aside", "headTitle": "Controversial Facebook Insider Account by Former Official Has Strong First-Week Sales | KQED", "labelTerm": { "site": "arts" }, "content": "\u003cfigure id=\"attachment_13973449\" class=\"wp-caption aligncenter\" style=\"max-width: 1316px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Careless.People.Facebook.jpg\" alt=\"A blue rounded-edge square background is punctuated by a shark fin.\" width=\"1316\" height=\"2000\" class=\"size-full wp-image-13973449\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Careless.People.Facebook.jpg 1316w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Careless.People.Facebook-800x1216.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Careless.People.Facebook-1020x1550.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Careless.People.Facebook-160x243.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Careless.People.Facebook-768x1167.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Careless.People.Facebook-1011x1536.jpg 1011w\" sizes=\"auto, (max-width: 1316px) 100vw, 1316px\">\u003cfigcaption class=\"wp-caption-text\">Sarah Wynn-Williams’ ‘Careless People.’ \u003ccite>(Flatiron Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A former \u003ca href=\"https://www.kqed.org/arts/tag/facebook\">Facebook\u003c/a> official’s explosive insider account sold 60,000 copies in its first week and reached the top 10 on Amazon’s best-seller list amid efforts by the social media giant’s parent company Meta to discredit the book.\u003c/p>\n\u003cp>Released last week by Flatiron Books, a Macmillan imprint, Sarah Wynn-Williams’ \u003cem>Careless People: A Cautionary Tale of Power, Greed, and Lost Idealism\u003c/em> alleges cruel and otherwise disturbing behavior by Mark Zuckerberg, Joel Kaplan and other executives and describes Zuckerberg’s alleged efforts to win favor with Chinese officials. Meta has countered that Wynn-Williams, a former director of global public policy who left what was then Facebook in 2017, violated a severance agreement and wrote a book filled with inaccuracies.\u003c/p>\n\u003cp>According to Flatiron, first week sales include print audio and digital editions. On Wednesday, \u003cem>Careless People\u003c/em> ranked No. 3 on Amazon.\u003c/p>\n\u003cp>In response to a complaint filed by Meta, emergency arbitrator Nicholas A. Gowen last week placed a hold on Wynn-Williams’ promoting the book or making further “critical claims” about her former employer. In his ruling, Gowen wrote that Meta had “established a likelihood of success on the merits of its contractual non-disparagement claim” against Wynn-Williams. Flatiron can still publish and promote \u003cem>Careless People\u003c/em>.\u003c/p>\n\u003cp>[aside postID='arts_12031294']A statement from Meta praised the arbitrator’s decision, saying it “affirms that Sarah Wynn Williams’ false and defamatory book should never have been published.” Meta has otherwise called \u003cem>Careless People\u003c/em> a “mix of out-of-date and previously reported claims about the company and false accusations about our executives.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Flatiron also issued a statement, saying it “was appalled by Meta’s tactics to silence our author through the use of a non-disparagement clause in a severance agreement.” The publisher added that the arbitrator had not addressed the allegations made by Wynn-Williams.\u003c/p>\n\u003cp>“The book went through a thorough editing and vetting process, and we remain committed to publishing important books such as this. We will absolutely continue to support and promote it,” the statement reads.\u003c/p>\n\u003cp>Flatiron did not announce the book until just days before its release. Meta’s response has included queries to media outlets, among them The Associated Press, over their plans for coverage. \u003cem>Washington Post\u003c/em> critic Ron Charles wrote last week that he had received repeated messages from Meta.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“In my 27 years of reviewing and editing newspaper books sections, no company has ever done this with me,” he noted.\u003c/p>\n\n", "blocks": [], "excerpt": "The author of ‘Careless People’ is barred from promoting the book. It sold 60,000 copies in its first week.", "status": "publish", "parent": 0, "modified": 1742590687, "stats": { "hasAudio": false, "hasVideo": false, "hasChartOrMap": false, "iframeSrcs": [], "hasGoogleForm": false, "hasGallery": false, "hasHearkenModule": false, "hasPolis": false, "paragraphCount": 11, "wordCount": 444 }, "headData": { "title": "Controversial Facebook Insider Account by Former Official Has Strong First-Week Sales | KQED", "description": "The author of ‘Careless People’ is barred from promoting the book. It sold 60,000 copies in its first week.", "ogTitle": "", "ogDescription": "", "ogImgId": "", "twTitle": "", "twDescription": "", "twImgId": "", "schema": { "@context": "http://schema.org", "@type": "Article", "headline": "Controversial Facebook Insider Account by Former Official Has Strong First-Week Sales", "datePublished": "2025-03-21T08:59:01-07:00", "dateModified": "2025-03-21T13:58:07-07:00", "image": "https://cdn.kqed.org/wp-content/uploads/2020/02/[email protected]" } }, "sticky": false, "nprByline": "Hillel Italie, Associated Press", "nprStoryId": "kqed-13973446", "templateType": "standard", "featuredImageType": "standard", "excludeFromSiteSearch": "Include", "showOnAuthorArchivePages": "No", "articleAge": "0", "path": "/arts/13973446/facebook-book-memoir-careless-people-sales", "audioTrackLength": null, "parsedContent": [ { "type": "contentString", "content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13973449\" class=\"wp-caption aligncenter\" style=\"max-width: 1316px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Careless.People.Facebook.jpg\" alt=\"A blue rounded-edge square background is punctuated by a shark fin.\" width=\"1316\" height=\"2000\" class=\"size-full wp-image-13973449\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Careless.People.Facebook.jpg 1316w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Careless.People.Facebook-800x1216.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Careless.People.Facebook-1020x1550.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Careless.People.Facebook-160x243.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Careless.People.Facebook-768x1167.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Careless.People.Facebook-1011x1536.jpg 1011w\" sizes=\"auto, (max-width: 1316px) 100vw, 1316px\">\u003cfigcaption class=\"wp-caption-text\">Sarah Wynn-Williams’ ‘Careless People.’ \u003ccite>(Flatiron Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A former \u003ca href=\"https://www.kqed.org/arts/tag/facebook\">Facebook\u003c/a> official’s explosive insider account sold 60,000 copies in its first week and reached the top 10 on Amazon’s best-seller list amid efforts by the social media giant’s parent company Meta to discredit the book.\u003c/p>\n\u003cp>Released last week by Flatiron Books, a Macmillan imprint, Sarah Wynn-Williams’ \u003cem>Careless People: A Cautionary Tale of Power, Greed, and Lost Idealism\u003c/em> alleges cruel and otherwise disturbing behavior by Mark Zuckerberg, Joel Kaplan and other executives and describes Zuckerberg’s alleged efforts to win favor with Chinese officials. Meta has countered that Wynn-Williams, a former director of global public policy who left what was then Facebook in 2017, violated a severance agreement and wrote a book filled with inaccuracies.\u003c/p>\n\u003cp>According to Flatiron, first week sales include print audio and digital editions. On Wednesday, \u003cem>Careless People\u003c/em> ranked No. 3 on Amazon.\u003c/p>\n\u003cp>In response to a complaint filed by Meta, emergency arbitrator Nicholas A. Gowen last week placed a hold on Wynn-Williams’ promoting the book or making further “critical claims” about her former employer. In his ruling, Gowen wrote that Meta had “established a likelihood of success on the merits of its contractual non-disparagement claim” against Wynn-Williams. Flatiron can still publish and promote \u003cem>Careless People\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>", "attributes": { "named": {}, "numeric": [] } }, { "type": "component", "content": "", "name": "aside", "attributes": { "named": { "postid": "arts_12031294", "label": "" }, "numeric": [] } }, { "type": "contentString", "content": "\u003cdiv class=\"post-body\">\u003cp>A statement from Meta praised the arbitrator’s decision, saying it “affirms that Sarah Wynn Williams’ false and defamatory book should never have been published.” Meta has otherwise called \u003cem>Careless People\u003c/em> a “mix of out-of-date and previously reported claims about the company and false accusations about our executives.”\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>Flatiron also issued a statement, saying it “was appalled by Meta’s tactics to silence our author through the use of a non-disparagement clause in a severance agreement.” The publisher added that the arbitrator had not addressed the allegations made by Wynn-Williams.\u003c/p>\n\u003cp>“The book went through a thorough editing and vetting process, and we remain committed to publishing important books such as this. We will absolutely continue to support and promote it,” the statement reads.\u003c/p>\n\u003cp>Flatiron did not announce the book until just days before its release. Meta’s response has included queries to media outlets, among them The Associated Press, over their plans for coverage. \u003cem>Washington Post\u003c/em> critic Ron Charles wrote last week that he had received repeated messages from Meta.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“In my 27 years of reviewing and editing newspaper books sections, no company has ever done this with me,” he noted.\u003c/p>\n\n\u003c/div>\u003c/p>", "attributes": { "named": {}, "numeric": [] } } ], "link": "/arts/13973446/facebook-book-memoir-careless-people-sales", "authors": [ "byline_arts_13973446" ], "categories": [ "arts_1", "arts_73" ], "tags": [ "arts_1934", "arts_2137" ], "featImg": "arts_13973447", "label": "arts" }, "arts_13973430": { "type": "posts", "id": "arts_13973430", "meta": { "index": "posts_1716263798", "site": "arts", "id": "13973430", "score": null, "sort": [ 1742516133000 ] }, "guestAuthors": [], "slug": "best-korean-spicy-raw-crabs-ondam-santa-clara-late-night", "title": "Korean Spicy Raw Crabs Are the Best Late-Night Snack", "publishDate": 1742516133, "format": "aside", "headTitle": "Korean Spicy Raw Crabs Are the Best Late-Night Snack | KQED", "labelTerm": {}, "content": "\u003cfigure id=\"attachment_13973438\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13973438\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/ONDAM.jpg\" alt=\"Illustration: a man devours a crab dripping with red sauce (with red stains all over his shirt) while his companion looks on.\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/ONDAM.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/ONDAM-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/ONDAM-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/ONDAM-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/ONDAM-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/ONDAM-1536x1536.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">One of Ondam’s signature dishes is its spicy raw marinated crab. Located in Santa Clara, the Korean restaurant is open until 1 a.m. on weekends. \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>It looked like the scene of an unspeakable crime. I pulled off my red-stained plastic gloves and surveyed the damage: the pile of crimson-soaked carcasses, limbs torn off, bits of raw flesh oozing out from open crevices. My hands were sticky (and a little bit sweet??) underneath the gloves, my pants also spattered bright blood red and possibly ruined.\u003c/p>\n\u003cp>All in all, it was just an average night at \u003ca href=\"https://www.instagram.com/ondam_official/?hl=en\">Ondam\u003c/a>, a newish late-night Korean restaurant in Santa Clara. We’d come in search of a rare delicacy, \u003ca href=\"https://www.maangchi.com/recipe/yangnyeom-gejang\">yangnyeom gejang\u003c/a>, or spicy raw marinated crabs — delicious victims of the aforementioned carnage. The dish has been a \u003ca href=\"https://www.tiktok.com/@hoemgirl/video/7218383423558257962\">viral hit\u003c/a> on Korean American TikTok and Instagram for a few years now, but has only recently started to appear on \u003ca href=\"https://www.sfchronicle.com/food/restaurants/article/crab-korean-k-banchan-18615070.php\">a handful of Bay Area menus\u003c/a>, often at restaurants, like Ondam, that specialize in booze-friendly fare.\u003c/p>\n\u003cp>Late on a recent Friday night, the restaurant was jam-packed with Asian American twenty- and thirtysomethings, many of them chatting amiably in Korean. Even though about a dozen diners were ahead of us in line, we were seated quickly. The place is a model of efficiency, with a brisk, no-nonsense approach to service and iPad menus on every table.\u003c/p>\n\u003cp>While the raw marinated crabs are one of Ondam’s most \u003ca href=\"https://www.yelp.com/biz/ondam-santa-clara?q=crab\">popular\u003c/a>, attention-grabbing dishes, we only saw them on a couple other tables. That’s probably because they’re a whole commitment, and you need to come properly prepared, ready to give them your full attention. At $35 a pop, they actually feel like a bargain because the portion size is tremendous — a giant Jenga tower of saucy, chili-stained blue crabs stacked high on the plate. There were so many that we lost count, but I must have eaten eight or 10 of the little crustaceans all by myself.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The marinade consisted of gochugaru (Korean chili powder), garlic, fresh chilies and soy sauce, which combined with the crab’s juices to form a spicy-sweet paste. The shells were soft enough that you could bite right through to get at the meat inside. What I like to do, though, is put on those plastic gloves and use both hands to smoosh the crab until its soft, gelatinous flesh oozes out over a bowl of hot rice. What a treat it was to luxuriate in the natural sweetness of the raw crab, whose taste and jelly-like texture were reminiscent of really fresh shrimp sashimi. Mixed with the (mildly) fiery kick of that bright red sauce, it was almost impossible to stop eating. And even wearing gloves, you’re bound to make a mess.\u003c/p>\n\u003cp>Would my doctor advise me to eat this at 11 o’clock at night on the regular? If this was wrong, I didn’t want to be right.\u003c/p>\n\u003cfigure id=\"attachment_13973440\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13973440\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/ONDAM2.jpg\" alt='Illustration: the exterior of a restaurant at night. The sign reads \"Ondam Korean Restaurant.\"' width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/ONDAM2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/ONDAM2-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/ONDAM2-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/ONDAM2-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/ONDAM2-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/ONDAM2-1536x1536.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The restaurant is a late-night hotspot, especially for Korean Americans in the Santa Clara area. \u003ccite>(Thien Pham)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even if you’re squeamish about the idea of eating raw crab, Ondam serves some of the tastiest Korean food we’ve had in the Bay Area in quite some time. In fact, most of the tables around us were ordering more typical Korean pub standards — fried chicken, \u003ca href=\"https://www.kqed.org/arts/13961328/bay-pocha-late-night-korean-pub-bossam-army-stew-sf\">army stew\u003c/a> and tteokbokki. Based on our initial exploration of the menu, this is a restaurant that does the classics well. The complimentary banchan spread, for instance, was nothing but bangers: a tangle of soft, uncommonly savory potato matchsticks; perfectly seasoned sauteed spinach; a mound of creamy (and surprisingly addicting!) macaroni salad flecked with sweet corn kernels.\u003c/p>\n\u003cp>But the restaurant also boasts a wealth of dishes that are harder to find in the Bay Area. For instance, it has an extensive selection of kalguksu, or Korean noodle soups featuring handmade knife-cut noodles. The clam kalguksu we ordered came overloaded with clams and mussels, and the broth had a wonderfully deep and soothing flavor, having extracted all of the shellfish’s briny sweetness. On a cold night, it warmed us up from the inside.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cspan style=\"color: #2b2b2b;font-weight: 400\">[aside postID='arts_13972834,arts_13957143,arts_13965215']\u003c/span>\u003c/span>There was a sweet, garlicky version of yukhoe, or Korean beef tartare, crowned with a golden egg yolk and served with crunchy slivers of Asian pear. And there was a whole menu of sotbap, a rice dish that’s a lesser known cousin of bibimbap, where all of the ingredients get cooked together in one pot. The steak sotbap turned out to be one of the most luxurious dishes of the night. The steak itself was cut into large, substantial chunks that were seared to a perfect, extraordinarily juicy medium-rare.\u003c/p>\n\u003cp>Saved for a future visit: the six different jeongol (hot pot) dishes, and the elaborate spread of raw meats or seafood that get \u003ca href=\"https://www.instagram.com/ondam_official/p/C3zRYBLuCUo/\">cooked gently in a cypress wood steamer\u003c/a> and served with an array of dipping sauces — a preparation I haven’t seen at any other Korean restaurant in the Bay.\u003c/p>\n\u003cp>You might find one or two of these lesser-known items from Ondam’s menu at Korean restaurants in Oakland or San Francisco, but \u003ca href=\"https://web.archive.org/web/20181212124912/https://www.modernluxury.com/san-francisco/story/different-kind-of-koreatown\">only in Santa Clara\u003c/a> is it typical to find such a wide array. And based on how crowded the dining room was during our visit, right now Ondam is \u003ci>the\u003c/i> place to be in Santa Clara, at least if you’re looking for a late-night feast.\u003c/p>\n\u003cp>Do learn from our mistakes, though, especially if the raw crabs are at the top of your agenda. Don’t wear any clothing you wouldn’t want getting dirty. And consider ordering just one or two dishes to start out, so you can focus on working your way through those crabs before the table gets cluttered and overcrowded. At that point, every bowl and utensil on the table might already be stained red, and one false move will send your sauce-splattered chopsticks flying through the air … and onto your favorite trousers.\u003c/p>\n\u003cp>Not that we wouldn’t do it all again in a second.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/ondam_official/?hl=en\">\u003ci>Ondam\u003c/i>\u003c/a>\u003ci> is open Sunday through Thursday, 11 a.m.–midnight, and Friday through Saturday 11 a.m.–1 a.m. at 2450 El Camino Real in Santa Clara.\u003c/i>\u003c/p>\n\n", "blocks": [], "excerpt": "Ondam, in Santa Clara, serves one of the best versions until 1 a.m. on weekends.", "status": "publish", "parent": 0, "modified": 1742516133, "stats": { "hasAudio": false, "hasVideo": false, "hasChartOrMap": false, "iframeSrcs": [], "hasGoogleForm": false, "hasGallery": false, "hasHearkenModule": false, "hasPolis": false, "paragraphCount": 17, "wordCount": 1128 }, "headData": { "title": "The Best Korean Spicy Raw Crabs at Ondam in Santa Clara | KQED", "description": "Ondam, in Santa Clara, serves one of the best versions until 1 a.m. on weekends.", "ogTitle": "Korean Spicy Raw Crabs Are the Best Late-Night Snack", "ogDescription": "", "ogImgId": "", "twTitle": "Korean Spicy Raw Crabs Are the Best Late-Night Snack", "twDescription": "", "twImgId": "", "socialTitle": "The Best Korean Spicy Raw Crabs at Ondam in Santa Clara %%page%% %%sep%% KQED", "schema": { "@context": "http://schema.org", "@type": "Article", "headline": "Korean Spicy Raw Crabs Are the Best Late-Night Snack", "datePublished": "2025-03-20T17:15:33-07:00", "dateModified": "2025-03-20T17:15:33-07:00", "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-13973430", "templateType": "standard", "featuredImageType": "standard", "excludeFromSiteSearch": "Include", "articleAge": "0", "path": "/arts/13973430/best-korean-spicy-raw-crabs-ondam-santa-clara-late-night", "audioTrackLength": null, "parsedContent": [ { "type": "contentString", "content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13973438\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13973438\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/ONDAM.jpg\" alt=\"Illustration: a man devours a crab dripping with red sauce (with red stains all over his shirt) while his companion looks on.\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/ONDAM.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/ONDAM-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/ONDAM-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/ONDAM-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/ONDAM-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/ONDAM-1536x1536.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">One of Ondam’s signature dishes is its spicy raw marinated crab. Located in Santa Clara, the Korean restaurant is open until 1 a.m. on weekends. \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>It looked like the scene of an unspeakable crime. I pulled off my red-stained plastic gloves and surveyed the damage: the pile of crimson-soaked carcasses, limbs torn off, bits of raw flesh oozing out from open crevices. My hands were sticky (and a little bit sweet??) underneath the gloves, my pants also spattered bright blood red and possibly ruined.\u003c/p>\n\u003cp>All in all, it was just an average night at \u003ca href=\"https://www.instagram.com/ondam_official/?hl=en\">Ondam\u003c/a>, a newish late-night Korean restaurant in Santa Clara. We’d come in search of a rare delicacy, \u003ca href=\"https://www.maangchi.com/recipe/yangnyeom-gejang\">yangnyeom gejang\u003c/a>, or spicy raw marinated crabs — delicious victims of the aforementioned carnage. The dish has been a \u003ca href=\"https://www.tiktok.com/@hoemgirl/video/7218383423558257962\">viral hit\u003c/a> on Korean American TikTok and Instagram for a few years now, but has only recently started to appear on \u003ca href=\"https://www.sfchronicle.com/food/restaurants/article/crab-korean-k-banchan-18615070.php\">a handful of Bay Area menus\u003c/a>, often at restaurants, like Ondam, that specialize in booze-friendly fare.\u003c/p>\n\u003cp>Late on a recent Friday night, the restaurant was jam-packed with Asian American twenty- and thirtysomethings, many of them chatting amiably in Korean. Even though about a dozen diners were ahead of us in line, we were seated quickly. The place is a model of efficiency, with a brisk, no-nonsense approach to service and iPad menus on every table.\u003c/p>\n\u003cp>While the raw marinated crabs are one of Ondam’s most \u003ca href=\"https://www.yelp.com/biz/ondam-santa-clara?q=crab\">popular\u003c/a>, attention-grabbing dishes, we only saw them on a couple other tables. That’s probably because they’re a whole commitment, and you need to come properly prepared, ready to give them your full attention. At $35 a pop, they actually feel like a bargain because the portion size is tremendous — a giant Jenga tower of saucy, chili-stained blue crabs stacked high on the plate. There were so many that we lost count, but I must have eaten eight or 10 of the little crustaceans all by myself.\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 marinade consisted of gochugaru (Korean chili powder), garlic, fresh chilies and soy sauce, which combined with the crab’s juices to form a spicy-sweet paste. The shells were soft enough that you could bite right through to get at the meat inside. What I like to do, though, is put on those plastic gloves and use both hands to smoosh the crab until its soft, gelatinous flesh oozes out over a bowl of hot rice. What a treat it was to luxuriate in the natural sweetness of the raw crab, whose taste and jelly-like texture were reminiscent of really fresh shrimp sashimi. Mixed with the (mildly) fiery kick of that bright red sauce, it was almost impossible to stop eating. And even wearing gloves, you’re bound to make a mess.\u003c/p>\n\u003cp>Would my doctor advise me to eat this at 11 o’clock at night on the regular? If this was wrong, I didn’t want to be right.\u003c/p>\n\u003cfigure id=\"attachment_13973440\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13973440\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/ONDAM2.jpg\" alt='Illustration: the exterior of a restaurant at night. The sign reads \"Ondam Korean Restaurant.\"' width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/ONDAM2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/ONDAM2-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/ONDAM2-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/ONDAM2-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/ONDAM2-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/ONDAM2-1536x1536.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The restaurant is a late-night hotspot, especially for Korean Americans in the Santa Clara area. \u003ccite>(Thien Pham)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even if you’re squeamish about the idea of eating raw crab, Ondam serves some of the tastiest Korean food we’ve had in the Bay Area in quite some time. In fact, most of the tables around us were ordering more typical Korean pub standards — fried chicken, \u003ca href=\"https://www.kqed.org/arts/13961328/bay-pocha-late-night-korean-pub-bossam-army-stew-sf\">army stew\u003c/a> and tteokbokki. Based on our initial exploration of the menu, this is a restaurant that does the classics well. The complimentary banchan spread, for instance, was nothing but bangers: a tangle of soft, uncommonly savory potato matchsticks; perfectly seasoned sauteed spinach; a mound of creamy (and surprisingly addicting!) macaroni salad flecked with sweet corn kernels.\u003c/p>\n\u003cp>But the restaurant also boasts a wealth of dishes that are harder to find in the Bay Area. For instance, it has an extensive selection of kalguksu, or Korean noodle soups featuring handmade knife-cut noodles. The clam kalguksu we ordered came overloaded with clams and mussels, and the broth had a wonderfully deep and soothing flavor, having extracted all of the shellfish’s briny sweetness. On a cold night, it warmed us up from the inside.\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_13972834,arts_13957143,arts_13965215", "label": "" }, "numeric": [] } }, { "type": "contentString", "content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/span>There was a sweet, garlicky version of yukhoe, or Korean beef tartare, crowned with a golden egg yolk and served with crunchy slivers of Asian pear. And there was a whole menu of sotbap, a rice dish that’s a lesser known cousin of bibimbap, where all of the ingredients get cooked together in one pot. The steak sotbap turned out to be one of the most luxurious dishes of the night. The steak itself was cut into large, substantial chunks that were seared to a perfect, extraordinarily juicy medium-rare.\u003c/p>\n\u003cp>Saved for a future visit: the six different jeongol (hot pot) dishes, and the elaborate spread of raw meats or seafood that get \u003ca href=\"https://www.instagram.com/ondam_official/p/C3zRYBLuCUo/\">cooked gently in a cypress wood steamer\u003c/a> and served with an array of dipping sauces — a preparation I haven’t seen at any other Korean restaurant in the Bay.\u003c/p>\n\u003cp>You might find one or two of these lesser-known items from Ondam’s menu at Korean restaurants in Oakland or San Francisco, but \u003ca href=\"https://web.archive.org/web/20181212124912/https://www.modernluxury.com/san-francisco/story/different-kind-of-koreatown\">only in Santa Clara\u003c/a> is it typical to find such a wide array. And based on how crowded the dining room was during our visit, right now Ondam is \u003ci>the\u003c/i> place to be in Santa Clara, at least if you’re looking for a late-night feast.\u003c/p>\n\u003cp>Do learn from our mistakes, though, especially if the raw crabs are at the top of your agenda. Don’t wear any clothing you wouldn’t want getting dirty. And consider ordering just one or two dishes to start out, so you can focus on working your way through those crabs before the table gets cluttered and overcrowded. At that point, every bowl and utensil on the table might already be stained red, and one false move will send your sauce-splattered chopsticks flying through the air … and onto your favorite trousers.\u003c/p>\n\u003cp>Not that we wouldn’t do it all again in a second.\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>\u003ca href=\"https://www.instagram.com/ondam_official/?hl=en\">\u003ci>Ondam\u003c/i>\u003c/a>\u003ci> is open Sunday through Thursday, 11 a.m.–midnight, and Friday through Saturday 11 a.m.–1 a.m. at 2450 El Camino Real in Santa Clara.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>", "attributes": { "named": {}, "numeric": [] } } ], "link": "/arts/13973430/best-korean-spicy-raw-crabs-ondam-santa-clara-late-night", "authors": [ "11743", "11753" ], "series": [ "arts_22316" ], "categories": [ "arts_1", "arts_12276" ], "tags": [ "arts_10278", "arts_1297", "arts_15803", "arts_8805", "arts_22323", "arts_21928" ], "featImg": "arts_13973437", "label": "source_arts_13973430" }, "arts_13973415": { "type": "posts", "id": "arts_13973415", "meta": { "index": "posts_1716263798", "site": "arts", "id": "13973415", "score": null, "sort": [ 1742511260000 ] }, "guestAuthors": [], "slug": "japanese-breakfast-michelle-zauner-new-album", "title": "Japanese Breakfast’s Michelle Zauner On Melancholy and Her New Album", "publishDate": 1742511260, "format": "standard", "headTitle": "Japanese Breakfast’s Michelle Zauner On Melancholy and Her New Album | KQED", "labelTerm": { "site": "arts" }, "content": "\u003cp>“All of my ghosts are real, all of my ghosts are my home,” \u003ca href=\"https://www.kqed.org/forum/2010101883227/michelle-zauner\">Michelle Zauner\u003c/a> of Japanese Breakfast sings in her singular way — sweetness laced with sorrow.\u003c/p>\n\u003cp>[aside postID='arts_13896050']Four years ago, the release of her Grammy-nominated album \u003ci>Jubilee\u003c/i> dovetailed with her bestselling memoir \u003ci>\u003ca href=\"https://www.kqed.org/arts/13896050/a-daughter-grieves-her-mom-and-finds-herself-in-crying-in-h-mart\">Crying in H Mart\u003c/a>\u003c/i> — chronicling her love of Korean food and loss of her mother — to produce a season of success. Then came a film adaptation of her memoir, for which she wrote the screenplay. With the Hollywood strikes, though, it came to a grinding halt (and later a full stop, when actor and director Will Sharpe left the project).\u003c/p>\n\u003cp>In the aftermath, Zauner recorded new tracks. She sidestepped the spotlight by moving to Seoul — where she immersed herself in Korean language and culture — the subject of her upcoming second book.\u003c/p>\n\u003cp>Zauner talked to The Associated Press about her fourth studio album, \u003ci>For Melancholy Brunettes (and Sad Women)\u003c/i>. Out March 21, it’s that rare thing: a cerebral yet deeply felt album from an artist with just enough commercial success to secure resources for her still-quite-indie vision.\u003c/p>\n\u003cp>\u003ci>This interview has been edited for length and clarity.\u003ci>\u003c/i>\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>AP: The album cover looks like a very sumptuous painting. It’s very memento mori with the skull and flowers — and then there’s oysters and a tray of bloody guts. Where did the idea come from?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Zauner:\u003c/b> I really loved the idea of being on the album cover, but not showing my face. I was feeling pretty introverted after the years that followed \u003ci>Jubilee\u003c/i>. It was a really natural desire to just focus more on the work and less on me as a figure.\u003cbr>\nI had noticed this kind of trope in many paintings of women collapsed over tables, overcome with melancholy. It looks like I’m this collapsed, spoiled prince just with a table full of excess, and still miserable.\u003c/p>\n\u003cp>I dressed the table with little Easter eggs from the album — almost like a still life where every object has some kind of meaning. There is a bowl of guts that is a line from “Here is Someone,” and there’s milky broth and oysters, which are lines on “Orlando in Love.” There’s flowers in a vase, which I mention in “Winter in LA.”\u003c/p>\n\u003cp>https://youtu.be/i9rcfX_t3nU?feature=shared\u003c/p>\n\u003cp>\u003cb>Melancholy is a motif throughout the tracks. It feels like a different flavor or color of grief than your earlier work. How would you describe the kind of sadness you wanted to capture?\u003c/b>\u003c/p>\n\u003cp>At this time in my life and the way that I think about melancholy, it’s very intertwined with time and the passage of it. And this desire to get ahead of it and to keep it at bay — and the sort of melancholic reality that it’s forever passing. I think of it not so much as like a violent sadness or longing or heartbreak, but kind of this pensive, anticipatory grief about the passage of time.\u003c/p>\n\u003cp>It evokes a specific kind of feeling of being sort of on edge. Or, like, a taut feeling. Most of that dissonance, I think, comes from the chord changes or the progressions. I originally wanted to make a creepy album, and those sorts of changes felt really essential to achieving that kind of eerie sound.\u003c/p>\n\u003cp>\u003cb>You recorded this album, shelved it, went to Korea for a year, came back to New York and are now releasing it. Why did you shelve it for a period of time and what’s it like now listening back to the recordings?\u003c/b>\u003c/p>\n\u003cp>My last record was also shelved for a year because of COVID, so I’m honestly used to that process now. I’ve actually found that I really love my records even more with time away from them.\u003c/p>\n\u003cp>There’s so much that goes into preparing for an album to come out, from the visuals to mixing and mastering to prepping for the tour that, honestly, that kind of separation is really nice.\u003c/p>\n\u003cp>I’m not someone that’s super precious. I have a very clear idea of what I want, and I am someone that is good at knowing when to finish.\u003c/p>\n\u003cp>https://youtu.be/BEJ_9veuPXI?feature=shared\u003c/p>\n\u003cp>\u003cb>You’ve talked about the toll that touring takes on the body, and pressures that come with reaching a certain level of recognition. What are ways you’ve learned to take care of yourself?\u003c/b>\u003c/p>\n\u003cp>It’s so hard to just eat well on tour because you’re so confined to what’s around a venue. I eat a lot of Asian food and sometimes when you’re in the middle of America, there’s not a lot of options that are, you know, not Panda Express.\u003c/p>\n\u003cp>It’s so hard to just not eat a home-cooked meal for months at a time. I’m actually going to be bringing a rice cooker on this tour, which is something that I did at the beginning of my tour days that I’m returning to.\u003c/p>\n\u003cp>I bring a yoga mat and stretch. Your body just gets like, so fucked from, like, sleeping in a moving bus in a tiny little coffin hole.\u003c/p>\n\u003cp>[aside postID='arts_13973375,arts_13973027,arts_13973156' label='more music news']I probably am going to be sober for all of my tour time. I always really loved having a couple of drinks to get loose. But if you’re doing that every day, it takes a toll on you eventually. A lot of the women I know that tour regularly have all sworn off alcohol, and I was very obstinate about it, like “It’s fine, I can do both, I can have it all.” But this is the tour that I finally accept that there’s probably no drinking.\u003c/p>\n\u003cp>I’m also an only child and I need a lot of privacy and alone time. I think that my self-care is just like, “You are allowed to disappear.”\u003c/p>\n\u003cp>\u003cb>You’re touring with the same musicians as the \u003ci>Jubilee\u003c/i> tour, right? What are you excited about playing, venue-wise?\u003c/b>\u003c/p>\n\u003cp>I’ve somehow assembled 15 people that I happen to get along with really well, which is extremely rare for me. I feel like that’s the best thing that I could have ever done for myself is just find 12 to 15 people that you can spend an ungodly amount of time together with and still like each other at the end.\u003c/p>\n\u003cp>We’ve never played the Ryman in Nashville, and that’s something that we’re all just super excited about. I’ve had such an allegiance to Union Transfer in Philadelphia because the coat check is named after me.\u003c/p>\n\u003cp>\u003cb>The coat check is named after you?\u003c/b>\u003c/p>\n\u003cp>Before I became a professional musician, I used to work the coat check there. Once, someone gave me a fake hundred-dollar bill. I gave them like $98 of real change. And the manager was upset about that and told me that I was going to have to pay it out of my paycheck, which was like more than I made in the five hours that I had worked that shift. I had no money at this time.\u003c/p>\n\u003cp>Anyway, my boss was really cool about it and he stepped in and paid the $100 for me. I never forgot that. Years later, when we sold out five nights at Union Transfer as a band, I paid him back the $100 onstage. After the last night, they surprised me by naming that coat check “the Michelle Zauner’s coat check.” There’s like a big hand-painted sign, which is very sweet.\u003c/p>\n\u003cp>\u003cb>I think a lot of listeners will be surprised to hear actor Jeff Bridges’ voice on “Men in Bars.” Who would be a dream collaborator next?\u003c/b>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>I really want to make, like, a sexy album and I really want to work with the band Air. I really love \u003ci>Moon Safari\u003c/i>. I think because I sort of disavowed synths for this album, I suddenly am like, “Oh, I want to make like a sexy, synth record.” They write just such amazing bass lines and like, such cinematic music. Let’s just put that out into the world.\u003c/p>\n\n", "blocks": [], "excerpt": "‘For Melancholy Brunettes (and Sad Women),’ out March 21, is that rare thing: a cerebral yet deeply felt album.", "status": "publish", "parent": 0, "modified": 1742511260, "stats": { "hasAudio": false, "hasVideo": false, "hasChartOrMap": false, "iframeSrcs": [], "hasGoogleForm": false, "hasGallery": false, "hasHearkenModule": false, "hasPolis": false, "paragraphCount": 31, "wordCount": 1440 }, "headData": { "title": "Q&A: Michelle Zauner of Japanese Breakfast on New Album | KQED", "description": "‘For Melancholy Brunettes (and Sad Women),’ out March 21, is that rare thing: a cerebral yet deeply felt album.", "ogTitle": "Japanese Breakfast’s Michelle Zauner On Melancholy and Her New Album", "ogDescription": "", "ogImgId": "", "twTitle": "Japanese Breakfast’s Michelle Zauner On Melancholy and Her New Album", "twDescription": "", "twImgId": "", "socialTitle": "Q&A: Michelle Zauner of Japanese Breakfast on New Album %%page%% %%sep%% KQED", "schema": { "@context": "http://schema.org", "@type": "Article", "headline": "Japanese Breakfast’s Michelle Zauner On Melancholy and Her New Album", "datePublished": "2025-03-20T15:54:20-07:00", "dateModified": "2025-03-20T15:54:20-07:00", "image": "https://cdn.kqed.org/wp-content/uploads/2020/02/[email protected]" } }, "sticky": false, "nprByline": "Anna Furman, Associated Press", "nprStoryId": "kqed-13973415", "templateType": "standard", "featuredImageType": "standard", "excludeFromSiteSearch": "Include", "showOnAuthorArchivePages": "No", "articleAge": "0", "path": "/arts/13973415/japanese-breakfast-michelle-zauner-new-album", "audioTrackLength": null, "parsedContent": [ { "type": "contentString", "content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“All of my ghosts are real, all of my ghosts are my home,” \u003ca href=\"https://www.kqed.org/forum/2010101883227/michelle-zauner\">Michelle Zauner\u003c/a> of Japanese Breakfast sings in her singular way — sweetness laced with sorrow.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>", "attributes": { "named": {}, "numeric": [] } }, { "type": "component", "content": "", "name": "aside", "attributes": { "named": { "postid": "arts_13896050", "label": "" }, "numeric": [] } }, { "type": "contentString", "content": "\u003cdiv class=\"post-body\">\u003cp>Four years ago, the release of her Grammy-nominated album \u003ci>Jubilee\u003c/i> dovetailed with her bestselling memoir \u003ci>\u003ca href=\"https://www.kqed.org/arts/13896050/a-daughter-grieves-her-mom-and-finds-herself-in-crying-in-h-mart\">Crying in H Mart\u003c/a>\u003c/i> — chronicling her love of Korean food and loss of her mother — to produce a season of success. Then came a film adaptation of her memoir, for which she wrote the screenplay. With the Hollywood strikes, though, it came to a grinding halt (and later a full stop, when actor and director Will Sharpe left the project).\u003c/p>\n\u003cp>In the aftermath, Zauner recorded new tracks. She sidestepped the spotlight by moving to Seoul — where she immersed herself in Korean language and culture — the subject of her upcoming second book.\u003c/p>\n\u003cp>Zauner talked to The Associated Press about her fourth studio album, \u003ci>For Melancholy Brunettes (and Sad Women)\u003c/i>. Out March 21, it’s that rare thing: a cerebral yet deeply felt album from an artist with just enough commercial success to secure resources for her still-quite-indie vision.\u003c/p>\n\u003cp>\u003ci>This interview has been edited for length and clarity.\u003ci>\u003c/i>\u003c/i>\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>\u003cb>AP: The album cover looks like a very sumptuous painting. It’s very memento mori with the skull and flowers — and then there’s oysters and a tray of bloody guts. Where did the idea come from?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Zauner:\u003c/b> I really loved the idea of being on the album cover, but not showing my face. I was feeling pretty introverted after the years that followed \u003ci>Jubilee\u003c/i>. It was a really natural desire to just focus more on the work and less on me as a figure.\u003cbr>\nI had noticed this kind of trope in many paintings of women collapsed over tables, overcome with melancholy. It looks like I’m this collapsed, spoiled prince just with a table full of excess, and still miserable.\u003c/p>\n\u003cp>I dressed the table with little Easter eggs from the album — almost like a still life where every object has some kind of meaning. There is a bowl of guts that is a line from “Here is Someone,” and there’s milky broth and oysters, which are lines on “Orlando in Love.” There’s flowers in a vase, which I mention in “Winter in LA.”\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/i9rcfX_t3nU'\n title='//www.youtube.com/embed/i9rcfX_t3nU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cb>Melancholy is a motif throughout the tracks. It feels like a different flavor or color of grief than your earlier work. How would you describe the kind of sadness you wanted to capture?\u003c/b>\u003c/p>\n\u003cp>At this time in my life and the way that I think about melancholy, it’s very intertwined with time and the passage of it. And this desire to get ahead of it and to keep it at bay — and the sort of melancholic reality that it’s forever passing. I think of it not so much as like a violent sadness or longing or heartbreak, but kind of this pensive, anticipatory grief about the passage of time.\u003c/p>\n\u003cp>It evokes a specific kind of feeling of being sort of on edge. Or, like, a taut feeling. Most of that dissonance, I think, comes from the chord changes or the progressions. I originally wanted to make a creepy album, and those sorts of changes felt really essential to achieving that kind of eerie sound.\u003c/p>\n\u003cp>\u003cb>You recorded this album, shelved it, went to Korea for a year, came back to New York and are now releasing it. Why did you shelve it for a period of time and what’s it like now listening back to the recordings?\u003c/b>\u003c/p>\n\u003cp>My last record was also shelved for a year because of COVID, so I’m honestly used to that process now. I’ve actually found that I really love my records even more with time away from them.\u003c/p>\n\u003cp>There’s so much that goes into preparing for an album to come out, from the visuals to mixing and mastering to prepping for the tour that, honestly, that kind of separation is really nice.\u003c/p>\n\u003cp>I’m not someone that’s super precious. I have a very clear idea of what I want, and I am someone that is good at knowing when to finish.\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/BEJ_9veuPXI'\n title='//www.youtube.com/embed/BEJ_9veuPXI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cb>You’ve talked about the toll that touring takes on the body, and pressures that come with reaching a certain level of recognition. What are ways you’ve learned to take care of yourself?\u003c/b>\u003c/p>\n\u003cp>It’s so hard to just eat well on tour because you’re so confined to what’s around a venue. I eat a lot of Asian food and sometimes when you’re in the middle of America, there’s not a lot of options that are, you know, not Panda Express.\u003c/p>\n\u003cp>It’s so hard to just not eat a home-cooked meal for months at a time. I’m actually going to be bringing a rice cooker on this tour, which is something that I did at the beginning of my tour days that I’m returning to.\u003c/p>\n\u003cp>I bring a yoga mat and stretch. Your body just gets like, so fucked from, like, sleeping in a moving bus in a tiny little coffin hole.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>", "attributes": { "named": {}, "numeric": [] } }, { "type": "component", "content": "", "name": "aside", "attributes": { "named": { "postid": "arts_13973375,arts_13973027,arts_13973156", "label": "more music news " }, "numeric": [] } }, { "type": "contentString", "content": "\u003cdiv class=\"post-body\">\u003cp>I probably am going to be sober for all of my tour time. I always really loved having a couple of drinks to get loose. But if you’re doing that every day, it takes a toll on you eventually. A lot of the women I know that tour regularly have all sworn off alcohol, and I was very obstinate about it, like “It’s fine, I can do both, I can have it all.” But this is the tour that I finally accept that there’s probably no drinking.\u003c/p>\n\u003cp>I’m also an only child and I need a lot of privacy and alone time. I think that my self-care is just like, “You are allowed to disappear.”\u003c/p>\n\u003cp>\u003cb>You’re touring with the same musicians as the \u003ci>Jubilee\u003c/i> tour, right? What are you excited about playing, venue-wise?\u003c/b>\u003c/p>\n\u003cp>I’ve somehow assembled 15 people that I happen to get along with really well, which is extremely rare for me. I feel like that’s the best thing that I could have ever done for myself is just find 12 to 15 people that you can spend an ungodly amount of time together with and still like each other at the end.\u003c/p>\n\u003cp>We’ve never played the Ryman in Nashville, and that’s something that we’re all just super excited about. I’ve had such an allegiance to Union Transfer in Philadelphia because the coat check is named after me.\u003c/p>\n\u003cp>\u003cb>The coat check is named after you?\u003c/b>\u003c/p>\n\u003cp>Before I became a professional musician, I used to work the coat check there. Once, someone gave me a fake hundred-dollar bill. I gave them like $98 of real change. And the manager was upset about that and told me that I was going to have to pay it out of my paycheck, which was like more than I made in the five hours that I had worked that shift. I had no money at this time.\u003c/p>\n\u003cp>Anyway, my boss was really cool about it and he stepped in and paid the $100 for me. I never forgot that. Years later, when we sold out five nights at Union Transfer as a band, I paid him back the $100 onstage. After the last night, they surprised me by naming that coat check “the Michelle Zauner’s coat check.” There’s like a big hand-painted sign, which is very sweet.\u003c/p>\n\u003cp>\u003cb>I think a lot of listeners will be surprised to hear actor Jeff Bridges’ voice on “Men in Bars.” Who would be a dream collaborator next?\u003c/b>\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 really want to make, like, a sexy album and I really want to work with the band Air. I really love \u003ci>Moon Safari\u003c/i>. I think because I sort of disavowed synths for this album, I suddenly am like, “Oh, I want to make like a sexy, synth record.” They write just such amazing bass lines and like, such cinematic music. Let’s just put that out into the world.\u003c/p>\n\n\u003c/div>\u003c/p>", "attributes": { "named": {}, "numeric": [] } } ], "link": "/arts/13973415/japanese-breakfast-michelle-zauner-new-album", "authors": [ "byline_arts_13973415" ], "categories": [ "arts_1", "arts_69" ], "tags": [ "arts_10589", "arts_989" ], "featImg": "arts_13973419", "label": "arts" }, "arts_13973403": { "type": "posts", "id": "arts_13973403", "meta": { "index": "posts_1716263798", "site": "arts", "id": "13973403", "score": null, "sort": [ 1742507426000 ] }, "guestAuthors": [], "slug": "snow-white-live-action-review-disney", "title": "‘Snow White’ Is No Poisoned Apple, But It Doesn’t Whistle", "publishDate": 1742507426, "format": "standard", "headTitle": "‘Snow White’ Is No Poisoned Apple, But It Doesn’t Whistle | KQED", "labelTerm": {}, "content": "\u003cp>Mirror mirror on the wall, what’s the fairest Disney \u003ca href=\"https://www.kqed.org/arts/13969558/barry-jenkins-brings-fresh-energy-to-the-lion-king-prequel-mufasa\">live-action remake\u003c/a> of them all?\u003c/p>\n\u003cp>Wait, mirror. Hold on a second. Maybe choosing from the likes of \u003ci>\u003ca href=\"https://www.kqed.org/arts/28185/theres_a_method_to_tim_burtons_madness\">Alice in Wonderland\u003c/a>\u003c/i> (2010), \u003ci>Mulan\u003c/i> (2020) and \u003ci>\u003ca href=\"https://www.kqed.org/pop/112871/new-lion-king-remake-is-more-creative-dead-end-than-circle-of-life\">The Lion King\u003c/a>\u003c/i> (2019) isn’t such a good idea. Mirror, on second thought, what’s on Netflix?\u003c/p>\n\u003cp>[aside postID='arts_13969558,arts_13858171']Even the most devoted fans would have to acknowledge that these have not been the most illustrious illustrations of Disney magic. At their best (\u003ci>Pete’s Dragon\u003c/i>? \u003ci>Cinderella\u003c/i>?) they breathe life into old classics that could use a little updating. At their worst, well, \u003ca href=\"https://www.kqed.org/arts/13858171/aladdin-a-cgi-world-neither-whole-nor-new\">blue Will Smith\u003c/a>.\u003c/p>\n\u003cp>Given the rapacious rate of remakes in modern Hollywood, it’s remarkable that it’s taken nearly 90 years for Disney to return to \u003ci>Snow White\u003c/i>. It means going back to the very foundation of the Mouse House. The 1937 \u003ci>Snow White and the Seven Dwarfs\u003c/i> was Disney’s first animated feature; its grosses paid for the studio’s Burbank lot.\u003c/p>\n\u003cp>That legacy of \u003ci>Snow White\u003c/i>, by comparison, doesn’t do any favors to Marc Webb’s inevitably lesser, inert live-action retread. Good intentions, like swirling bluebirds, flutter through this \u003ci>Snow White\u003c/i>: to give its singing protagonist (Rachel Zegler) more agency; to expand that notion of “fair” beyond skin tone; to reframe that problematic prince. But all that updating adds up to a mishmash of a fable, caught in between now and once upon a time.\u003c/p>\n\u003cfigure id=\"attachment_13973410\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/snow_white_dtrl2_uhd_r709f_stills_241030_a32ec443_2000.jpg\" alt=\"woman in sunlit meadow surrounded by animals\" width=\"2000\" height=\"891\" class=\"size-full wp-image-13973410\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/snow_white_dtrl2_uhd_r709f_stills_241030_a32ec443_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/snow_white_dtrl2_uhd_r709f_stills_241030_a32ec443_2000-800x356.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/snow_white_dtrl2_uhd_r709f_stills_241030_a32ec443_2000-1020x454.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/snow_white_dtrl2_uhd_r709f_stills_241030_a32ec443_2000-160x71.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/snow_white_dtrl2_uhd_r709f_stills_241030_a32ec443_2000-768x342.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/snow_white_dtrl2_uhd_r709f_stills_241030_a32ec443_2000-1536x684.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/snow_white_dtrl2_uhd_r709f_stills_241030_a32ec443_2000-1920x855.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Rachel Zegler in a scene from ‘Snow White.’ \u003ccite>(Disney)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It wouldn’t be an earth-shattering observation to note that a 1930s cartoon, let alone a 19th-century German folk tale, might not be entirely in line with contemporary culture. Most of these Disney live-action remakes have carried with them more than a few notes of correction and atonement for the past — a laudable goal that means a generation of kids might not need a brief history lesson to go along with an old classic.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But it’s a tricky thing reworking a fable that’s been around two centuries, and that’s doubly true when leaping from the two-dimensional fantasy realm of animation to the more complicated land of flesh and bone. Webb’s \u003ci>Snow White\u003c/i> has been a veritable case study for the headaches that can arise when a window into the real world is cracked open. Everything from Israel’s war in Gaza (Zegler and her co-star Gal Gadot, who plays the wicked stepmother, have differing opinions), the humanity of little people (there’s a reason \u003ci>and the Seven Dwarfs\u003c/i> has been stripped from the title) and the alleged “woke”-ness of the production have been fuel for what we can gently refer to as online debate.\u003c/p>\n\u003cp>Despite some gloriously lush production design, \u003ci>Snow White\u003c/i> — innocent of most of those backlashes though not all — can’t quite thread the needle. Even the new songs (by Benj Pasek and Justin Paul) that are good (“Waiting on a Wish”) struggle to fit in alongside old standbys. Zegler does a spirited job remaking a classic Disney princess into a more modern woman; when she sings, the movie gets a lift. The last thing that’s wrong with this \u003ci>Snow White\u003c/i> is Zegler’s casting.\u003c/p>\n\u003cfigure id=\"attachment_13973411\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/snowwhite_dtlr1_4k_r709f_stills_240801_e53cfd66_2000.jpg\" alt=\"woman in severe makeup and spiky crown holds hands at sides of head\" width=\"2000\" height=\"838\" class=\"size-full wp-image-13973411\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/snowwhite_dtlr1_4k_r709f_stills_240801_e53cfd66_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/snowwhite_dtlr1_4k_r709f_stills_240801_e53cfd66_2000-800x335.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/snowwhite_dtlr1_4k_r709f_stills_240801_e53cfd66_2000-1020x427.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/snowwhite_dtlr1_4k_r709f_stills_240801_e53cfd66_2000-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/snowwhite_dtlr1_4k_r709f_stills_240801_e53cfd66_2000-768x322.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/snowwhite_dtlr1_4k_r709f_stills_240801_e53cfd66_2000-1536x644.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/snowwhite_dtlr1_4k_r709f_stills_240801_e53cfd66_2000-1920x804.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Gal Gadot in a scene from ‘Snow White.’ \u003ccite>(Disney)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But like scaffolding that’s been left up too long, the strain of renovation shows in Webb’s film, particularly in its awkward handling of Dopey, Sneezy and company. The seven dwarfs, like the fawns and squirrels, are rendered in CGI. You could argue that this acknowledges the artificiality of a dated and offensive trope. But it also gives \u003ci>Snow White\u003c/i> an uncanny quality, with all human characters but the dwarfs being played by real people. As if to Band-Aid over this, one of the woodsmen is played by an actor of short stature (George Appleby) whose presence seems like yet another atonement, only one for this \u003ci>Snow White\u003c/i>, not 1937’s.\u003c/p>\n\u003cp>[aside tag='film' label='more movies']You might be thinking: But what about the movie? The problem with \u003ci>Snow White\u003c/i> is that you never stop thinking about these much-strategized and sometimes superficial efforts to recontextualize the original movie. Erin Cressida Wilson’s screenplay remakes Snow White’s story as less a princess awaiting her Prince Charming (the song “Someday My Prince Will Come” has been jettisoned) than an heir to a throne who loses her gumption. Though taught as a child to be “fair” as a leader by her father king (Hadley Fraser), Snow White has lost any ambition by the time Gadot’s Evil Queen takes over the kingdom.\u003c/p>\n\u003cp>Gadot sinks her teeth into the Evil Queen, a spikey, slinky villain who moves with a metallic rustle (the costumes are by Sandy Powell). But she feels cut off from the movie, without the lines that would elevate her flamboyant performance into something memorable. The prince has been altogether scrubbed; instead Andrew Burnap plays the blandly cocksure bandit Jonathan who encourages Snow White not to wait for her father’s rescue.\u003c/p>\n\u003cp>Presumably one of the reasons to bring actors into remakes of animated classics would be to add a warm-blooded pulse to these characters. Zegler manages that, but everyone else in \u003ci>Snow White\u003c/i> — mortal or CGI — is as stiff as could be. You’re left glumly scorekeeping the updates — one win here, a loss there — while pondering why, regardless of the final tally, recapturing the magic of long ago is so elusive.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Snow White’ opens in theaters on March 21, 2025.\u003c/i>\u003c/p>\n\n", "blocks": [], "excerpt": "Despite some gloriously lush production design, the live-action ‘Snow White’ can’t quite find its own rhythm.", "status": "publish", "parent": 0, "modified": 1742507516, "stats": { "hasAudio": false, "hasVideo": false, "hasChartOrMap": false, "iframeSrcs": [], "hasGoogleForm": false, "hasGallery": false, "hasHearkenModule": false, "hasPolis": false, "paragraphCount": 15, "wordCount": 976 }, "headData": { "title": "‘Snow White’ Is No Poisoned Apple, But It Doesn’t Whistle | KQED", "description": "Despite some gloriously lush production design, the live-action ‘Snow White’ can’t quite find its own rhythm.", "ogTitle": "", "ogDescription": "", "ogImgId": "", "twTitle": "", "twDescription": "", "twImgId": "", "schema": { "@context": "http://schema.org", "@type": "Article", "headline": "‘Snow White’ Is No Poisoned Apple, But It Doesn’t Whistle", "datePublished": "2025-03-20T14:50:26-07:00", "dateModified": "2025-03-20T14:51:56-07:00", "image": "https://cdn.kqed.org/wp-content/uploads/2020/02/[email protected]" } }, "source": "The Do List", "sourceUrl": "https://www.kqed.org/thedolist", "sticky": false, "nprByline": "Jake Coyle, Associated Press", "nprStoryId": "kqed-13973403", "templateType": "standard", "featuredImageType": "standard", "excludeFromSiteSearch": "Include", "showOnAuthorArchivePages": "No", "articleAge": "0", "path": "/arts/13973403/snow-white-live-action-review-disney", "audioTrackLength": null, "parsedContent": [ { "type": "contentString", "content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Mirror mirror on the wall, what’s the fairest Disney \u003ca href=\"https://www.kqed.org/arts/13969558/barry-jenkins-brings-fresh-energy-to-the-lion-king-prequel-mufasa\">live-action remake\u003c/a> of them all?\u003c/p>\n\u003cp>Wait, mirror. Hold on a second. Maybe choosing from the likes of \u003ci>\u003ca href=\"https://www.kqed.org/arts/28185/theres_a_method_to_tim_burtons_madness\">Alice in Wonderland\u003c/a>\u003c/i> (2010), \u003ci>Mulan\u003c/i> (2020) and \u003ci>\u003ca href=\"https://www.kqed.org/pop/112871/new-lion-king-remake-is-more-creative-dead-end-than-circle-of-life\">The Lion King\u003c/a>\u003c/i> (2019) isn’t such a good idea. Mirror, on second thought, what’s on Netflix?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>", "attributes": { "named": {}, "numeric": [] } }, { "type": "component", "content": "", "name": "aside", "attributes": { "named": { "postid": "arts_13969558,arts_13858171", "label": "" }, "numeric": [] } }, { "type": "contentString", "content": "\u003cdiv class=\"post-body\">\u003cp>Even the most devoted fans would have to acknowledge that these have not been the most illustrious illustrations of Disney magic. At their best (\u003ci>Pete’s Dragon\u003c/i>? \u003ci>Cinderella\u003c/i>?) they breathe life into old classics that could use a little updating. At their worst, well, \u003ca href=\"https://www.kqed.org/arts/13858171/aladdin-a-cgi-world-neither-whole-nor-new\">blue Will Smith\u003c/a>.\u003c/p>\n\u003cp>Given the rapacious rate of remakes in modern Hollywood, it’s remarkable that it’s taken nearly 90 years for Disney to return to \u003ci>Snow White\u003c/i>. It means going back to the very foundation of the Mouse House. The 1937 \u003ci>Snow White and the Seven Dwarfs\u003c/i> was Disney’s first animated feature; its grosses paid for the studio’s Burbank lot.\u003c/p>\n\u003cp>That legacy of \u003ci>Snow White\u003c/i>, by comparison, doesn’t do any favors to Marc Webb’s inevitably lesser, inert live-action retread. Good intentions, like swirling bluebirds, flutter through this \u003ci>Snow White\u003c/i>: to give its singing protagonist (Rachel Zegler) more agency; to expand that notion of “fair” beyond skin tone; to reframe that problematic prince. But all that updating adds up to a mishmash of a fable, caught in between now and once upon a time.\u003c/p>\n\u003cfigure id=\"attachment_13973410\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/snow_white_dtrl2_uhd_r709f_stills_241030_a32ec443_2000.jpg\" alt=\"woman in sunlit meadow surrounded by animals\" width=\"2000\" height=\"891\" class=\"size-full wp-image-13973410\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/snow_white_dtrl2_uhd_r709f_stills_241030_a32ec443_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/snow_white_dtrl2_uhd_r709f_stills_241030_a32ec443_2000-800x356.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/snow_white_dtrl2_uhd_r709f_stills_241030_a32ec443_2000-1020x454.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/snow_white_dtrl2_uhd_r709f_stills_241030_a32ec443_2000-160x71.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/snow_white_dtrl2_uhd_r709f_stills_241030_a32ec443_2000-768x342.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/snow_white_dtrl2_uhd_r709f_stills_241030_a32ec443_2000-1536x684.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/snow_white_dtrl2_uhd_r709f_stills_241030_a32ec443_2000-1920x855.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Rachel Zegler in a scene from ‘Snow White.’ \u003ccite>(Disney)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It wouldn’t be an earth-shattering observation to note that a 1930s cartoon, let alone a 19th-century German folk tale, might not be entirely in line with contemporary culture. Most of these Disney live-action remakes have carried with them more than a few notes of correction and atonement for the past — a laudable goal that means a generation of kids might not need a brief history lesson to go along with an old classic.\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>But it’s a tricky thing reworking a fable that’s been around two centuries, and that’s doubly true when leaping from the two-dimensional fantasy realm of animation to the more complicated land of flesh and bone. Webb’s \u003ci>Snow White\u003c/i> has been a veritable case study for the headaches that can arise when a window into the real world is cracked open. Everything from Israel’s war in Gaza (Zegler and her co-star Gal Gadot, who plays the wicked stepmother, have differing opinions), the humanity of little people (there’s a reason \u003ci>and the Seven Dwarfs\u003c/i> has been stripped from the title) and the alleged “woke”-ness of the production have been fuel for what we can gently refer to as online debate.\u003c/p>\n\u003cp>Despite some gloriously lush production design, \u003ci>Snow White\u003c/i> — innocent of most of those backlashes though not all — can’t quite thread the needle. Even the new songs (by Benj Pasek and Justin Paul) that are good (“Waiting on a Wish”) struggle to fit in alongside old standbys. Zegler does a spirited job remaking a classic Disney princess into a more modern woman; when she sings, the movie gets a lift. The last thing that’s wrong with this \u003ci>Snow White\u003c/i> is Zegler’s casting.\u003c/p>\n\u003cfigure id=\"attachment_13973411\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/snowwhite_dtlr1_4k_r709f_stills_240801_e53cfd66_2000.jpg\" alt=\"woman in severe makeup and spiky crown holds hands at sides of head\" width=\"2000\" height=\"838\" class=\"size-full wp-image-13973411\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/snowwhite_dtlr1_4k_r709f_stills_240801_e53cfd66_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/snowwhite_dtlr1_4k_r709f_stills_240801_e53cfd66_2000-800x335.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/snowwhite_dtlr1_4k_r709f_stills_240801_e53cfd66_2000-1020x427.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/snowwhite_dtlr1_4k_r709f_stills_240801_e53cfd66_2000-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/snowwhite_dtlr1_4k_r709f_stills_240801_e53cfd66_2000-768x322.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/snowwhite_dtlr1_4k_r709f_stills_240801_e53cfd66_2000-1536x644.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/snowwhite_dtlr1_4k_r709f_stills_240801_e53cfd66_2000-1920x804.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Gal Gadot in a scene from ‘Snow White.’ \u003ccite>(Disney)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But like scaffolding that’s been left up too long, the strain of renovation shows in Webb’s film, particularly in its awkward handling of Dopey, Sneezy and company. The seven dwarfs, like the fawns and squirrels, are rendered in CGI. You could argue that this acknowledges the artificiality of a dated and offensive trope. But it also gives \u003ci>Snow White\u003c/i> an uncanny quality, with all human characters but the dwarfs being played by real people. As if to Band-Aid over this, one of the woodsmen is played by an actor of short stature (George Appleby) whose presence seems like yet another atonement, only one for this \u003ci>Snow White\u003c/i>, not 1937’s.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>", "attributes": { "named": {}, "numeric": [] } }, { "type": "component", "content": "", "name": "aside", "attributes": { "named": { "tag": "film", "label": "more movies " }, "numeric": [] } }, { "type": "contentString", "content": "\u003cdiv class=\"post-body\">\u003cp>You might be thinking: But what about the movie? The problem with \u003ci>Snow White\u003c/i> is that you never stop thinking about these much-strategized and sometimes superficial efforts to recontextualize the original movie. Erin Cressida Wilson’s screenplay remakes Snow White’s story as less a princess awaiting her Prince Charming (the song “Someday My Prince Will Come” has been jettisoned) than an heir to a throne who loses her gumption. Though taught as a child to be “fair” as a leader by her father king (Hadley Fraser), Snow White has lost any ambition by the time Gadot’s Evil Queen takes over the kingdom.\u003c/p>\n\u003cp>Gadot sinks her teeth into the Evil Queen, a spikey, slinky villain who moves with a metallic rustle (the costumes are by Sandy Powell). But she feels cut off from the movie, without the lines that would elevate her flamboyant performance into something memorable. The prince has been altogether scrubbed; instead Andrew Burnap plays the blandly cocksure bandit Jonathan who encourages Snow White not to wait for her father’s rescue.\u003c/p>\n\u003cp>Presumably one of the reasons to bring actors into remakes of animated classics would be to add a warm-blooded pulse to these characters. Zegler manages that, but everyone else in \u003ci>Snow White\u003c/i> — mortal or CGI — is as stiff as could be. You’re left glumly scorekeeping the updates — one win here, a loss there — while pondering why, regardless of the final tally, recapturing the magic of long ago is so elusive.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Snow White’ opens in theaters on March 21, 2025.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>", "attributes": { "named": {}, "numeric": [] } } ], "link": "/arts/13973403/snow-white-live-action-review-disney", "authors": [ "byline_arts_13973403" ], "categories": [ "arts_1", "arts_74", "arts_22313" ], "tags": [ "arts_977", "arts_769", "arts_585" ], "featImg": "arts_13973409", "label": "source_arts_13973403" }, "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=\"auto, (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=\"auto, (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=\"auto, (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": 1741366854, "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": "2025-03-07T09:00:54-08:00", "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=\"auto, (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=\"auto, (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=\"auto, (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_3226", "arts_18754", "arts_4640", "arts_22195" ], "featImg": "arts_13960326", "label": "arts_8720" }, "arts_13972877": { "type": "posts", "id": "arts_13972877", "meta": { "index": "posts_1716263798", "site": "arts", "id": "13972877", "score": null, "sort": [ 1741643360000 ] }, "guestAuthors": [], "slug": "city-of-sensitive-frauds-mario0o0o0o0o0o-realbayareamemes", "title": "Two Bay Area Memelords Take on Gentrification in a New Doc", "publishDate": 1741643360, "format": "standard", "headTitle": "Two Bay Area Memelords Take on Gentrification in a New Doc | KQED", "labelTerm": { "term": 140, "site": "arts" }, "content": "\u003cp>Over the past four years, Mario Riveira (\u003ca href=\"https://www.instagram.com/mario0o0o0o0o0o/\">@mario0o0o0o0o0o\u003c/a>) has built a massive Instagram following by sticking a mic in people’s faces. His man-on-the-street interviews offer more than just top-tier people watching. Whether leaning into relatable topics (“What’s your favorite struggle meal?”) or stirring up debate (“What’s the snobbiest city in the Bay Area?”), Riveira gets honest takes from San Franciscans we often don’t hear from in the news media: unhoused people, kids in shiesty masks doing wheelies, retail workers on Market Street.\u003c/p>\n\u003cp>Riveira didn’t necessarily set out to cover social issues when he launched his page during pandemic shutdowns. But after talking to hundreds of people, he says one thing is clear: “The average person [in the Bay Area] is struggling, you know, if they’re not living with a ton of family members, or if they don’t have a tech job or work for PG&E.”\u003c/p>\n\u003cp>Riveira, who grew up in the working class suburbs of East Contra Costa County, has seen a lot of change during his 12 years in San Francisco. In the past couple years, he noticed new luxury apartment towers pop up on Treasure Island, a community with many low-income Black and brown residents. So Riveira went there with his camera and asked locals what they thought. [aside postid='arts_13972568']\u003c/p>\n\u003cp>For the project, he teamed up with another popular content creator, Abraham Woodliff, who regularly skewers billionaires and politicians on his Instagram page, \u003ca href=\"https://www.instagram.com/realbayareamemes/#\">@realbayareamemes\u003c/a>. The page was born out of resentment as he watched rents creep to unattainable levels not just in San Francisco, but in the Bay’s outer boroughs like Vallejo and Martinez.\u003c/p>\n\u003cp>As Riveira and Woodliff shot their content on Treasure Island, the two friends decided to continue the conversation about class inequality and gentrification in San Francisco and Oakland. What was supposed to be a 15-minute video grew into an hour-long documentary called \u003ci>The City of Sensitive Frauds\u003c/i>, which gets its \u003ca href=\"https://www.eventbrite.com/e/the-city-of-sensitive-frauds-bay-area-gentrification-documentary-premiere-tickets-1257262097779\">premiere March 19 at Chinatown’s Great Star Theater\u003c/a>. (The screening is sold out, but Riveira and Woodliff will announce an East Bay premiere in the coming weeks.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://youtu.be/71eCUCI9CpM?si=qgSQ8Gbc0VMppREv\u003c/p>\n\u003cp>The documentary’s title points to what Riveira and Woodliff see as a blatant contradiction of the Bay Area. Politicians often appeal to liberal values of inclusivity and diversity. Yet, through policy, they’ve created economic conditions that force families to live hand-to-mouth, and the homelessness crisis is mounting. People of color, LGBTQ+ people, young people and artists have moved out of San Francisco in droves, leaving a cultural vacuum (a dramatic voiceover in the trailer describes it as “a city ravaged by greedy nerds”).\u003c/p>\n\u003cp>“‘We’re for every community, bring everybody here — but only if you’re rich.’ They don’t say that part, but that’s the reality of it,” Woodliff elaborates in our interview.\u003c/p>\n\u003cp>In the film, Riveira and Woodliff go to the Fillmore District, once nicknamed the Harlem of the West, to meet up with rapper and community advocate Gunna Goes Global. “San Francisco is on the verge of being the first city to successfully remove Black people. Legally,” he declares bluntly. Indeed, the city’s Black population has fallen under 6%, according to the latest census estimates from 2023.\u003c/p>\n\u003cfigure id=\"attachment_13972880\" class=\"wp-caption aligncenter\" style=\"max-width: 1432px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13972880\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Screenshot-2025-03-09-at-10.10.17%E2%80%AFAM.png\" alt=\"A man speaks into a microphone during a street interview.\" width=\"1432\" height=\"802\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Screenshot-2025-03-09-at-10.10.17 AM.png 1432w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Screenshot-2025-03-09-at-10.10.17 AM-800x448.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Screenshot-2025-03-09-at-10.10.17 AM-1020x571.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Screenshot-2025-03-09-at-10.10.17 AM-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Screenshot-2025-03-09-at-10.10.17 AM-768x430.png 768w\" sizes=\"auto, (max-width: 1432px) 100vw, 1432px\">\u003cfigcaption class=\"wp-caption-text\">Rapper and community advocate Gunna Goes Global appears in ‘The City of Sensitive Frauds.’ \u003ccite>(Courtesy of Mario Riveira)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“What San Francisco does is they’ll gentrify the fuck out of a neighborhood, and then they create a museum to the people who got kicked out,” says Woodliff in the trailer as the camera cuts to the Fillmore’s murals of Billie Holiday and Dizzy Gillespie.\u003c/p>\n\u003cp>\u003ci>The City of Sensitive Frauds\u003c/i> points fingers at companies like Veritas, a corporate landlord on \u003ca href=\"https://worstevictorsbayarea.org/list/\">the list of the Bay Area’s “worst evictors,”\u003c/a> and looks towards possible solutions. As part of that effort, Riveira and Woodliff interview former San Francisco Supervisor Dean Preston, a Democratic Socialist and tenants’ rights attorney who pushed for renter protections and a law that entitles tenants to legal representation during eviction proceedings.\u003c/p>\n\u003cp>“There are absolutely solutions,” Preston tells KQED. “One is to try to remove as much housing from the private market as possible, and to have acquisitions of housing to create either nonprofit housing or community land trusts, or other forms of housing that provide long-term stability for people to stop eviction and to have stronger rent control.”\u003c/p>\n\u003cfigure id=\"attachment_13972881\" class=\"wp-caption aligncenter\" style=\"max-width: 1436px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13972881\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Screenshot-2025-03-09-at-10.09.46%E2%80%AFAM.png\" alt=\"\" width=\"1436\" height=\"804\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Screenshot-2025-03-09-at-10.09.46 AM.png 1436w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Screenshot-2025-03-09-at-10.09.46 AM-800x448.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Screenshot-2025-03-09-at-10.09.46 AM-1020x571.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Screenshot-2025-03-09-at-10.09.46 AM-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Screenshot-2025-03-09-at-10.09.46 AM-768x430.png 768w\" sizes=\"auto, (max-width: 1436px) 100vw, 1436px\">\u003cfigcaption class=\"wp-caption-text\">Mario Riveira interviews former San Francisco Supervisor Dean Preston. \u003ccite>(Courtesy of Mario Riveira)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>The City of Sensitive Frauds\u003c/i> arrives as conversations about class solidarity are bubbling up in person and online, especially as Silicon Valley’s tech elite align themselves with the Trump White House. How can working class people resist? Riveira and Woodliff want to do more than raise awareness. They say people should make their voices heard where the powerful can’t ignore them.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Go to Nancy Pelosi’s house and march right in front of her house,” Riveira says. “Go to Mark Benioff’s house and march in front of his house. Go to Daniel Lurie’s house and march in front of his house. Bring the pitchforks.”\u003c/p>\n\n", "blocks": [], "excerpt": "Mario Riveira and Abraham Woodliff call out ‘greedy nerds’ in ‘The City of Sensitive Frauds.‘", "status": "publish", "parent": 0, "modified": 1742272538, "stats": { "hasAudio": false, "hasVideo": false, "hasChartOrMap": false, "iframeSrcs": [], "hasGoogleForm": false, "hasGallery": false, "hasHearkenModule": false, "hasPolis": false, "paragraphCount": 15, "wordCount": 922 }, "headData": { "title": "‘The City of Sensitive Frauds’ Examines SF Gentrification | KQED", "description": "Mario Riveira and Abraham Woodliff call out ‘greedy nerds’ in ‘The City of Sensitive Frauds.‘", "ogTitle": "Two Bay Area Meme Lords Take on Gentrification in a New Doc", "ogDescription": "", "ogImgId": "", "twTitle": "Two Bay Area Meme Lords Take on Gentrification in a New Doc", "twDescription": "", "twImgId": "", "socialTitle": "‘The City of Sensitive Frauds’ Examines SF Gentrification %%page%% %%sep%% KQED", "schema": { "@context": "http://schema.org", "@type": "Article", "headline": "Two Bay Area Memelords Take on Gentrification in a New Doc", "datePublished": "2025-03-10T14:49:20-07:00", "dateModified": "2025-03-17T21:35:38-07:00", "image": "https://cdn.kqed.org/wp-content/uploads/2020/02/[email protected]" } }, "sticky": false, "nprStoryId": "kqed-13972877", "templateType": "standard", "featuredImageType": "standard", "excludeFromSiteSearch": "Include", "articleAge": "0", "path": "/arts/13972877/city-of-sensitive-frauds-mario0o0o0o0o0o-realbayareamemes", "audioTrackLength": null, "parsedContent": [ { "type": "contentString", "content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Over the past four years, Mario Riveira (\u003ca href=\"https://www.instagram.com/mario0o0o0o0o0o/\">@mario0o0o0o0o0o\u003c/a>) has built a massive Instagram following by sticking a mic in people’s faces. His man-on-the-street interviews offer more than just top-tier people watching. Whether leaning into relatable topics (“What’s your favorite struggle meal?”) or stirring up debate (“What’s the snobbiest city in the Bay Area?”), Riveira gets honest takes from San Franciscans we often don’t hear from in the news media: unhoused people, kids in shiesty masks doing wheelies, retail workers on Market Street.\u003c/p>\n\u003cp>Riveira didn’t necessarily set out to cover social issues when he launched his page during pandemic shutdowns. But after talking to hundreds of people, he says one thing is clear: “The average person [in the Bay Area] is struggling, you know, if they’re not living with a ton of family members, or if they don’t have a tech job or work for PG&E.”\u003c/p>\n\u003cp>Riveira, who grew up in the working class suburbs of East Contra Costa County, has seen a lot of change during his 12 years in San Francisco. In the past couple years, he noticed new luxury apartment towers pop up on Treasure Island, a community with many low-income Black and brown residents. So Riveira went there with his camera and asked locals what they thought. \u003c/p>\u003c/div>", "attributes": { "named": {}, "numeric": [] } }, { "type": "component", "content": "", "name": "aside", "attributes": { "named": { "postid": "arts_13972568", "label": "" }, "numeric": [] } }, { "type": "contentString", "content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For the project, he teamed up with another popular content creator, Abraham Woodliff, who regularly skewers billionaires and politicians on his Instagram page, \u003ca href=\"https://www.instagram.com/realbayareamemes/#\">@realbayareamemes\u003c/a>. The page was born out of resentment as he watched rents creep to unattainable levels not just in San Francisco, but in the Bay’s outer boroughs like Vallejo and Martinez.\u003c/p>\n\u003cp>As Riveira and Woodliff shot their content on Treasure Island, the two friends decided to continue the conversation about class inequality and gentrification in San Francisco and Oakland. What was supposed to be a 15-minute video grew into an hour-long documentary called \u003ci>The City of Sensitive Frauds\u003c/i>, which gets its \u003ca href=\"https://www.eventbrite.com/e/the-city-of-sensitive-frauds-bay-area-gentrification-documentary-premiere-tickets-1257262097779\">premiere March 19 at Chinatown’s Great Star Theater\u003c/a>. (The screening is sold out, but Riveira and Woodliff will announce an East Bay premiere in the coming weeks.)\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>\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/71eCUCI9CpM'\n title='//www.youtube.com/embed/71eCUCI9CpM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The documentary’s title points to what Riveira and Woodliff see as a blatant contradiction of the Bay Area. Politicians often appeal to liberal values of inclusivity and diversity. Yet, through policy, they’ve created economic conditions that force families to live hand-to-mouth, and the homelessness crisis is mounting. People of color, LGBTQ+ people, young people and artists have moved out of San Francisco in droves, leaving a cultural vacuum (a dramatic voiceover in the trailer describes it as “a city ravaged by greedy nerds”).\u003c/p>\n\u003cp>“‘We’re for every community, bring everybody here — but only if you’re rich.’ They don’t say that part, but that’s the reality of it,” Woodliff elaborates in our interview.\u003c/p>\n\u003cp>In the film, Riveira and Woodliff go to the Fillmore District, once nicknamed the Harlem of the West, to meet up with rapper and community advocate Gunna Goes Global. “San Francisco is on the verge of being the first city to successfully remove Black people. Legally,” he declares bluntly. Indeed, the city’s Black population has fallen under 6%, according to the latest census estimates from 2023.\u003c/p>\n\u003cfigure id=\"attachment_13972880\" class=\"wp-caption aligncenter\" style=\"max-width: 1432px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13972880\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Screenshot-2025-03-09-at-10.10.17%E2%80%AFAM.png\" alt=\"A man speaks into a microphone during a street interview.\" width=\"1432\" height=\"802\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Screenshot-2025-03-09-at-10.10.17 AM.png 1432w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Screenshot-2025-03-09-at-10.10.17 AM-800x448.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Screenshot-2025-03-09-at-10.10.17 AM-1020x571.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Screenshot-2025-03-09-at-10.10.17 AM-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Screenshot-2025-03-09-at-10.10.17 AM-768x430.png 768w\" sizes=\"auto, (max-width: 1432px) 100vw, 1432px\">\u003cfigcaption class=\"wp-caption-text\">Rapper and community advocate Gunna Goes Global appears in ‘The City of Sensitive Frauds.’ \u003ccite>(Courtesy of Mario Riveira)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“What San Francisco does is they’ll gentrify the fuck out of a neighborhood, and then they create a museum to the people who got kicked out,” says Woodliff in the trailer as the camera cuts to the Fillmore’s murals of Billie Holiday and Dizzy Gillespie.\u003c/p>\n\u003cp>\u003ci>The City of Sensitive Frauds\u003c/i> points fingers at companies like Veritas, a corporate landlord on \u003ca href=\"https://worstevictorsbayarea.org/list/\">the list of the Bay Area’s “worst evictors,”\u003c/a> and looks towards possible solutions. As part of that effort, Riveira and Woodliff interview former San Francisco Supervisor Dean Preston, a Democratic Socialist and tenants’ rights attorney who pushed for renter protections and a law that entitles tenants to legal representation during eviction proceedings.\u003c/p>\n\u003cp>“There are absolutely solutions,” Preston tells KQED. “One is to try to remove as much housing from the private market as possible, and to have acquisitions of housing to create either nonprofit housing or community land trusts, or other forms of housing that provide long-term stability for people to stop eviction and to have stronger rent control.”\u003c/p>\n\u003cfigure id=\"attachment_13972881\" class=\"wp-caption aligncenter\" style=\"max-width: 1436px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13972881\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Screenshot-2025-03-09-at-10.09.46%E2%80%AFAM.png\" alt=\"\" width=\"1436\" height=\"804\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Screenshot-2025-03-09-at-10.09.46 AM.png 1436w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Screenshot-2025-03-09-at-10.09.46 AM-800x448.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Screenshot-2025-03-09-at-10.09.46 AM-1020x571.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Screenshot-2025-03-09-at-10.09.46 AM-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Screenshot-2025-03-09-at-10.09.46 AM-768x430.png 768w\" sizes=\"auto, (max-width: 1436px) 100vw, 1436px\">\u003cfigcaption class=\"wp-caption-text\">Mario Riveira interviews former San Francisco Supervisor Dean Preston. \u003ccite>(Courtesy of Mario Riveira)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>The City of Sensitive Frauds\u003c/i> arrives as conversations about class solidarity are bubbling up in person and online, especially as Silicon Valley’s tech elite align themselves with the Trump White House. How can working class people resist? Riveira and Woodliff want to do more than raise awareness. They say people should make their voices heard where the powerful can’t ignore them.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Go to Nancy Pelosi’s house and march right in front of her house,” Riveira says. “Go to Mark Benioff’s house and march in front of his house. Go to Daniel Lurie’s house and march in front of his house. Bring the pitchforks.”\u003c/p>\n\n\u003c/div>\u003c/p>", "attributes": { "named": {}, "numeric": [] } } ], "link": "/arts/13972877/city-of-sensitive-frauds-mario0o0o0o0o0o-realbayareamemes", "authors": [ "11387" ], "programs": [ "arts_140" ], "categories": [ "arts_1", "arts_74" ], "tags": [ "arts_21958", "arts_10342", "arts_22439", "arts_10278", "arts_585" ], "featImg": "arts_13972884", "label": "arts_140" }, "arts_13972851": { "type": "posts", "id": "arts_13972851", "meta": { "index": "posts_1716263798", "site": "arts", "id": "13972851", "score": null, "sort": [ 1741395351000 ] }, "guestAuthors": [], "slug": "elis-mile-high-club-oakland-patio-closure", "title": "Eli’s Mile High Club in Oakland Is in Danger of Closing, Owner Says", "publishDate": 1741395351, "format": "standard", "headTitle": "Eli’s Mile High Club in Oakland Is in Danger of Closing, Owner Says | KQED", "labelTerm": { "site": "arts" }, "content": "\u003cp>The historic North Oakland nightclub Eli’s Mile High Club is in danger of closing, its owner has announced. \u003c/p>\n\u003cp>On Wednesday, during a small community meeting at the club, Eli’s owner and operator Matthew Patane told the audience that Eli’s was in immediate need of financial and legal assistance, primarily due to the City of Oakland closing its large back patio. \u003c/p>\n\u003cp>“The city became aware of some zoning issues about two and a half years ago,” Patane said to the crowd. “Our patio was never on their radar, or they never really knew it existed.”\u003c/p>\n\u003cfigure id=\"attachment_13972745\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250305_ELIS-CLUB_DMB_00174-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13972745\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250305_ELIS-CLUB_DMB_00174-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250305_ELIS-CLUB_DMB_00174-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250305_ELIS-CLUB_DMB_00174-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250305_ELIS-CLUB_DMB_00174-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250305_ELIS-CLUB_DMB_00174-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250305_ELIS-CLUB_DMB_00174-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250305_ELIS-CLUB_DMB_00174-KQED-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The now-closed back patio at Eli’s Mile High Club, the historic North Oakland blues club and community hub located on Martin Luther King Jr Way, seen here on Wednesday, March 5, 2025. \u003ccite>(David M. Barreda/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After months of negotiating with the city, Patane said, code enforcement officers slapped the patio with a red tag in November 2024, despite the fact that fire marshals and health department officials had previously inspected and had no issue with the space.\u003c/p>\n\u003cp>As a result, Patane said the club has been forced to downsize employment, reduce hours and relocate show opportunities to other venues. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“My concerns are for my staff, they’re losing their jobs,” Patane said. “My concern is for the 50 years of history this place has given to the East Bay.”\u003c/p>\n\u003cp>Oakland code enforcement officials did not respond to inquiries from KQED regarding the patio closure.\u003c/p>\n\u003cfigure id=\"attachment_13972746\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250305_ELIS-CLUB_DMB_00634-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13972746\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250305_ELIS-CLUB_DMB_00634-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250305_ELIS-CLUB_DMB_00634-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250305_ELIS-CLUB_DMB_00634-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250305_ELIS-CLUB_DMB_00634-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250305_ELIS-CLUB_DMB_00634-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250305_ELIS-CLUB_DMB_00634-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250305_ELIS-CLUB_DMB_00634-KQED-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Owner and operator Matthew Patane, center, holds a community meeting at Eli’s Mile High Club, the historic North Oakland blues club and community hub located on Martin Luther King Jr Way, on Wednesday, March 5, 2025. \u003ccite>(David M. Barreda/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Currently, the club is hoping to raise funds and get help from the community to make up for lost revenue and put money toward legal assistance. \u003c/p>\n\u003cp>“We are reaching out for any pro bono legal aid, whether it be property, business or entertainment law, zoning or planning — anybody that has experience or is willing to help,” said Patane.\u003c/p>\n\u003cp>The club is also asking for the community to \u003ca href=\"%E2%80%9Dmailto:[email protected]%E2%80%9D\">email testimonials and vintage photographs\u003c/a> of the back patio space. Anything from the club’s opening in 1974 to the present day is welcome, but photos at least 10 years old are extra helpful in order to show preexisting use. \u003c/p>\n\u003cfigure id=\"attachment_13972747\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250305_ELIS-CLUB_DMB_00921-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1334\" class=\"size-full wp-image-13972747\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250305_ELIS-CLUB_DMB_00921-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250305_ELIS-CLUB_DMB_00921-KQED-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250305_ELIS-CLUB_DMB_00921-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250305_ELIS-CLUB_DMB_00921-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250305_ELIS-CLUB_DMB_00921-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250305_ELIS-CLUB_DMB_00921-KQED-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250305_ELIS-CLUB_DMB_00921-KQED-1920x1281.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A message board shows the schedule of Monday Night Blues at Eli’s Mile High Club, the historic North Oakland blues club and community hub located on Martin Luther King Jr Way, on Wednesday, March 5, 2025. \u003ccite>(David M. Barreda/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the meantime, Eli’s is downscaling their business model to make ends meet.\u003c/p>\n\u003cp>“I’m hoping that…we can keep the doors open long enough to just get through this,” Patane said. “We’re in total compliance with this process,” he added, “We would just like it to happen a little faster than our bank account can afford.” \u003c/p>\n\u003cp>Jessie Leigh Smith, a musician and associate publisher at San Francisco Magazine, has been attending Eli’s Monday Blues Nights regularly since 2018, and said it would be a huge loss to the Bay Area music scene if the club were to close for good. She first discovered Eli’s through her harmonica mentor, who told her to attend every week as if her life depended on it. \u003c/p>\n\u003cp>“It was one of those things where you go by yourself every week but as soon as you get there, you’re not alone,” Smith said. “You’re there with a whole group of really warm, welcoming people, you really feel that sense of community.”\u003c/p>\n\u003cfigure id=\"attachment_13972748\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250305_ELIS-CLUB_DMB_00002-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13972748\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250305_ELIS-CLUB_DMB_00002-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250305_ELIS-CLUB_DMB_00002-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250305_ELIS-CLUB_DMB_00002-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250305_ELIS-CLUB_DMB_00002-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250305_ELIS-CLUB_DMB_00002-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250305_ELIS-CLUB_DMB_00002-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250305_ELIS-CLUB_DMB_00002-KQED-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Eli’s Mile High Club, the historic North Oakland blues club and community hub located on Martin Luther King Jr Way, seen here on Wednesday, March 5, 2025. \u003ccite>(David M. Barreda/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Smith also noted the diversity of its patrons, from Berkeley undergrads to blues legends in their 80s. “It’s like an intergenerational melting pot, age just kind of fades away when you’re there,” she said. “It’s a special place.” \u003c/p>\n\u003cp>Patane said he’s made contact with Oakland councilmember Carroll Fife’s office, and is hoping for an opportunity to discuss the club’s situation at a public meeting with the city of Oakland. \u003c/p>\n\u003cp>“I feel really blessed to be part of this community, hearing stories from patrons that have been coming here for decades to people who’ve just discovered it,” Patane said, his voice breaking a bit. “I just want to keep the doors open.” \u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Eli’s Mile High Club is currently soliciting donations via \u003ca href=\"https://www.gofundme.com/f/keep-elis-mile-high-club-alive-in-oakland\">GoFundMe\u003c/a>.\u003c/em>\u003c/p>\n\n", "blocks": [], "excerpt": "The historic nightclub, over 50 years old, recently had its large patio shut down by the city. \r\n", "status": "publish", "parent": 0, "modified": 1742495874, "stats": { "hasAudio": false, "hasVideo": false, "hasChartOrMap": false, "iframeSrcs": [], "hasGoogleForm": false, "hasGallery": false, "hasHearkenModule": false, "hasPolis": false, "paragraphCount": 20, "wordCount": 822 }, "headData": { "title": "Eli’s Mile High Club in Oakland Is in Danger of Closing, Owner Says | KQED", "description": "The historic nightclub, over 50 years old, recently had its large patio shut down by the city. \r\n", "ogTitle": "", "ogDescription": "", "ogImgId": "", "twTitle": "", "twDescription": "", "twImgId": "", "schema": { "@context": "http://schema.org", "@type": "Article", "headline": "Eli’s Mile High Club in Oakland Is in Danger of Closing, Owner Says", "datePublished": "2025-03-07T16:55:51-08:00", "dateModified": "2025-03-20T11:37:54-07:00", "image": "https://cdn.kqed.org/wp-content/uploads/2020/02/[email protected]" } }, "sticky": false, "nprStoryId": "kqed-13972851", "templateType": "standard", "featuredImageType": "standard", "excludeFromSiteSearch": "Include", "articleAge": "0", "path": "/arts/13972851/elis-mile-high-club-oakland-patio-closure", "audioTrackLength": null, "parsedContent": [ { "type": "contentString", "content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The historic North Oakland nightclub Eli’s Mile High Club is in danger of closing, its owner has announced. \u003c/p>\n\u003cp>On Wednesday, during a small community meeting at the club, Eli’s owner and operator Matthew Patane told the audience that Eli’s was in immediate need of financial and legal assistance, primarily due to the City of Oakland closing its large back patio. \u003c/p>\n\u003cp>“The city became aware of some zoning issues about two and a half years ago,” Patane said to the crowd. “Our patio was never on their radar, or they never really knew it existed.”\u003c/p>\n\u003cfigure id=\"attachment_13972745\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250305_ELIS-CLUB_DMB_00174-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13972745\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250305_ELIS-CLUB_DMB_00174-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250305_ELIS-CLUB_DMB_00174-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250305_ELIS-CLUB_DMB_00174-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250305_ELIS-CLUB_DMB_00174-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250305_ELIS-CLUB_DMB_00174-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250305_ELIS-CLUB_DMB_00174-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250305_ELIS-CLUB_DMB_00174-KQED-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The now-closed back patio at Eli’s Mile High Club, the historic North Oakland blues club and community hub located on Martin Luther King Jr Way, seen here on Wednesday, March 5, 2025. \u003ccite>(David M. Barreda/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After months of negotiating with the city, Patane said, code enforcement officers slapped the patio with a red tag in November 2024, despite the fact that fire marshals and health department officials had previously inspected and had no issue with the space.\u003c/p>\n\u003cp>As a result, Patane said the club has been forced to downsize employment, reduce hours and relocate show opportunities to other venues. \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>“My concerns are for my staff, they’re losing their jobs,” Patane said. “My concern is for the 50 years of history this place has given to the East Bay.”\u003c/p>\n\u003cp>Oakland code enforcement officials did not respond to inquiries from KQED regarding the patio closure.\u003c/p>\n\u003cfigure id=\"attachment_13972746\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250305_ELIS-CLUB_DMB_00634-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13972746\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250305_ELIS-CLUB_DMB_00634-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250305_ELIS-CLUB_DMB_00634-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250305_ELIS-CLUB_DMB_00634-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250305_ELIS-CLUB_DMB_00634-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250305_ELIS-CLUB_DMB_00634-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250305_ELIS-CLUB_DMB_00634-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250305_ELIS-CLUB_DMB_00634-KQED-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Owner and operator Matthew Patane, center, holds a community meeting at Eli’s Mile High Club, the historic North Oakland blues club and community hub located on Martin Luther King Jr Way, on Wednesday, March 5, 2025. \u003ccite>(David M. Barreda/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Currently, the club is hoping to raise funds and get help from the community to make up for lost revenue and put money toward legal assistance. \u003c/p>\n\u003cp>“We are reaching out for any pro bono legal aid, whether it be property, business or entertainment law, zoning or planning — anybody that has experience or is willing to help,” said Patane.\u003c/p>\n\u003cp>The club is also asking for the community to \u003ca href=\"%E2%80%9Dmailto:[email protected]%E2%80%9D\">email testimonials and vintage photographs\u003c/a> of the back patio space. Anything from the club’s opening in 1974 to the present day is welcome, but photos at least 10 years old are extra helpful in order to show preexisting use. \u003c/p>\n\u003cfigure id=\"attachment_13972747\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250305_ELIS-CLUB_DMB_00921-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1334\" class=\"size-full wp-image-13972747\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250305_ELIS-CLUB_DMB_00921-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250305_ELIS-CLUB_DMB_00921-KQED-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250305_ELIS-CLUB_DMB_00921-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250305_ELIS-CLUB_DMB_00921-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250305_ELIS-CLUB_DMB_00921-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250305_ELIS-CLUB_DMB_00921-KQED-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250305_ELIS-CLUB_DMB_00921-KQED-1920x1281.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A message board shows the schedule of Monday Night Blues at Eli’s Mile High Club, the historic North Oakland blues club and community hub located on Martin Luther King Jr Way, on Wednesday, March 5, 2025. \u003ccite>(David M. Barreda/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the meantime, Eli’s is downscaling their business model to make ends meet.\u003c/p>\n\u003cp>“I’m hoping that…we can keep the doors open long enough to just get through this,” Patane said. “We’re in total compliance with this process,” he added, “We would just like it to happen a little faster than our bank account can afford.” \u003c/p>\n\u003cp>Jessie Leigh Smith, a musician and associate publisher at San Francisco Magazine, has been attending Eli’s Monday Blues Nights regularly since 2018, and said it would be a huge loss to the Bay Area music scene if the club were to close for good. She first discovered Eli’s through her harmonica mentor, who told her to attend every week as if her life depended on it. \u003c/p>\n\u003cp>“It was one of those things where you go by yourself every week but as soon as you get there, you’re not alone,” Smith said. “You’re there with a whole group of really warm, welcoming people, you really feel that sense of community.”\u003c/p>\n\u003cfigure id=\"attachment_13972748\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250305_ELIS-CLUB_DMB_00002-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13972748\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250305_ELIS-CLUB_DMB_00002-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250305_ELIS-CLUB_DMB_00002-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250305_ELIS-CLUB_DMB_00002-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250305_ELIS-CLUB_DMB_00002-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250305_ELIS-CLUB_DMB_00002-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250305_ELIS-CLUB_DMB_00002-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250305_ELIS-CLUB_DMB_00002-KQED-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Eli’s Mile High Club, the historic North Oakland blues club and community hub located on Martin Luther King Jr Way, seen here on Wednesday, March 5, 2025. \u003ccite>(David M. Barreda/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Smith also noted the diversity of its patrons, from Berkeley undergrads to blues legends in their 80s. “It’s like an intergenerational melting pot, age just kind of fades away when you’re there,” she said. “It’s a special place.” \u003c/p>\n\u003cp>Patane said he’s made contact with Oakland councilmember Carroll Fife’s office, and is hoping for an opportunity to discuss the club’s situation at a public meeting with the city of Oakland. \u003c/p>\n\u003cp>“I feel really blessed to be part of this community, hearing stories from patrons that have been coming here for decades to people who’ve just discovered it,” Patane said, his voice breaking a bit. “I just want to keep the doors open.” \u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Eli’s Mile High Club is currently soliciting donations via \u003ca href=\"https://www.gofundme.com/f/keep-elis-mile-high-club-alive-in-oakland\">GoFundMe\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>", "attributes": { "named": {}, "numeric": [] } } ], "link": "/arts/13972851/elis-mile-high-club-oakland-patio-closure", "authors": [ "11919" ], "categories": [ "arts_1", "arts_69" ], "tags": [ "arts_1808", "arts_10331", "arts_22438", "arts_10342", "arts_22437", "arts_1143" ], "featImg": "arts_13972744", "label": "arts" }, "arts_13972818": { "type": "posts", "id": "arts_13972818", "meta": { "index": "posts_1716263798", "site": "arts", "id": "13972818", "score": null, "sort": [ 1741372896000 ] }, "guestAuthors": [], "slug": "dwayne-wiggins-dead-oakland-musician-tony-toni-tone-died", "title": "D’Wayne Wiggins, Legendary Oakland Musician and Mentor, Dies at 64", "publishDate": 1741372896, "format": "standard", "headTitle": "D’Wayne Wiggins, Legendary Oakland Musician and Mentor, Dies at 64 | KQED", "labelTerm": { "site": "arts" }, "content": "\u003cp>D’Wayne Wiggins, founding member of the legendary R&B group Tony! Toni! Toné!, died Friday morning. He was 64. \u003c/p>\n\u003cp>The cause of death was complications from bladder cancer, which he had been battling for the past year, according to an Instagram post from the Wiggins family. \u003c/p>\n\u003cp>“D’Wayne’s life was incomparable, and his music and service impacted millions around the world, including in his hometown of Oakland, California,” the family wrote. \u003c/p>\n\u003cfigure id=\"attachment_13972822\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/GettyImages-479424812.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13972822\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/GettyImages-479424812.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/GettyImages-479424812-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/GettyImages-479424812-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/GettyImages-479424812-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/GettyImages-479424812-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/GettyImages-479424812-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/GettyImages-479424812-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">D’Wayne Wiggins performs at 94.7 The WAVE’s Soulful Summer Concert at The Greek Theatre on July 3, 2015 in Los Angeles, California. \u003ccite>(Leon Bennett/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With his brother Raphael Saadiq and cousin Timothy Christian Riley, Wiggins formed Tony! Toni! Toné! in 1986 and enjoyed huge success on the R&B charts. But it was his mentorship of younger artists and community work in his hometown of Oakland that made him especially beloved locally.\u003c/p>\n\u003cp>After founding his West Oakland recording studio House of Music, Wiggins worked with young artists like Beyoncé, Keyshia Cole, Kehlani and Zendaya, giving each much-needed support either in the studio or in management at early stages of their careers. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“So very sad to hear this news,” \u003ca href=\"https://www.instagram.com/p/DG6wr2Fy56C/\">Tina Knowles wrote on Instagram\u003c/a>, reporting that she and her daughter Beyoncé had just reminisced at length about Wiggins securing a record deal for Destiny’s Child when the members were just 15 and 16. Wiggins also recorded and produced the group’s first album. \u003c/p>\n\u003cp>“He was so kind. So patient, so multi-talented and generous. Beyoncé said that he influenced and taught her so much,” she wrote. \u003c/p>\n\u003cfigure id=\"attachment_13972823\" class=\"wp-caption aligncenter\" style=\"max-width: 1392px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/GettyImages-1406594275.jpg\" alt=\"\" width=\"1392\" height=\"2000\" class=\"size-full wp-image-13972823\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/GettyImages-1406594275.jpg 1392w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/GettyImages-1406594275-800x1149.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/GettyImages-1406594275-1020x1466.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/GettyImages-1406594275-160x230.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/GettyImages-1406594275-768x1103.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/GettyImages-1406594275-1069x1536.jpg 1069w\" sizes=\"auto, (max-width: 1392px) 100vw, 1392px\">\u003cfigcaption class=\"wp-caption-text\">D’wayne Wiggins poses for photos at V-103 FM radio in Chicago, Illinois in May 1999. \u003ccite>(Raymond Boyd/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As an award-winning guitarist, songwriter and producer, Wiggins’ list of hits includes “Anniversary,” “Whatever You Want” and “Feels Good.” With Tony! Toni! Toné!, he released four albums that went either Gold, Platinum, or Double Platinum. \u003c/p>\n\u003cp>“The music is the score to our lives, you know,” Wiggins \u003ca href=\"https://www.kqed.org/arts/13937961/tony-toni-tone-reunion-oakland-interview-paramount-theatre\">told KQED in 2023\u003c/a>. “It helped us stay focused.” \u003c/p>\n\u003cp>Wiggins also produced films, including \u003cem>Life Is\u003c/em>, a documentary of Oakland rapper Too Short, and produced songs for Bay Area rap artists like San Quinn, The Coup and Messy Marv. \u003c/p>\n\u003cp>[aside postID='arts_13937961']After the 1998 release of the group’s final album \u003cem>House of Music\u003c/em>, Wiggins continued Tony! Toni! Toné! as a touring act with other members.\u003c/p>\n\u003cp>“We walked away from the industry. It wasn’t like we weren’t selling [records]. We just had other goals that we wanted to pursue,” Wiggins told KQED.\u003c/p>\n\u003cp>In 2023, original members Wiggins, Saadiq and Riley reunited for a Tony! Toni! Toné! tour, including two sold-out shows at Oakland’s Paramount Theatre. \u003c/p>\n\u003cfigure id=\"attachment_13972824\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/GettyImages-1277909099.jpg\" alt=\"\" width=\"2000\" height=\"1285\" class=\"size-full wp-image-13972824\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/GettyImages-1277909099.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/GettyImages-1277909099-800x514.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/GettyImages-1277909099-1020x655.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/GettyImages-1277909099-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/GettyImages-1277909099-768x493.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/GettyImages-1277909099-1536x987.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/GettyImages-1277909099-1920x1234.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Singer and musician D’Wayne Wiggins of Tony! Toni! Toné! performs during the WGCI-FM ‘Power Fest ’88’ concert at Navy Pier in Chicago, Illinois in August 1988. \u003ccite>(Raymond Boyd/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>An active member of his Oakland community, Wiggins worked with East Oakland’s Youth Uprising, a community center adjacent to Wiggins’ alma mater Castlemont High School. He started \u003ca href=\"https://www.facebook.com/youthaidnonprofit/posts/653125888163449/\">MindSeed Studios\u003c/a>, which provided after school programming to children and youth in East Oakland. He also launched social spaces like the cafe Jahva House, near downtown Oakland.\u003c/p>\n\u003cp>“I didn’t wanna do any clubs. I saw the noise that came with clubs,” Wiggins told KQED about Jahva House. “And my daughter, I wanted her to see family business. So that was a life-changer for me. I learned so much … It was very reciprocal for the Town.”\u003c/p>\n\u003cp>Wiggins also was known for quiet acts of assistance to those in need. As just one example, Kimmie Fresh, one of the Bay Area’s first female rappers, \u003ca href=\"https://www.kqed.org/arts/13934715/kimmie-fresh-real-freaky-tales-oakland\">told KQED\u003c/a> that during a time when she was couch-surfing, Wiggins built her a cafe in his studio so she could start her own business and get on her feet again. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Wiggins was surrounded by friends and family Friday morning, the family wrote. Services have not yet been announced. \u003c/p>\n\n", "blocks": [], "excerpt": "The founding member of Tony! Toni! Toné! and mentor to Beyoncé, Zendaya and others died Friday morning.", "status": "publish", "parent": 0, "modified": 1742272484, "stats": { "hasAudio": false, "hasVideo": false, "hasChartOrMap": false, "iframeSrcs": [], "hasGoogleForm": false, "hasGallery": false, "hasHearkenModule": false, "hasPolis": false, "paragraphCount": 19, "wordCount": 725 }, "headData": { "title": "D’Wayne Wiggins, Legendary Oakland Musician and Mentor, Dies at 64 | KQED", "description": "The founding member of Tony! Toni! Toné! and mentor to Beyoncé, Zendaya and others died Friday morning.", "ogTitle": "", "ogDescription": "", "ogImgId": "", "twTitle": "", "twDescription": "", "twImgId": "", "schema": { "@context": "http://schema.org", "@type": "Article", "headline": "D’Wayne Wiggins, Legendary Oakland Musician and Mentor, Dies at 64", "datePublished": "2025-03-07T10:41:36-08:00", "dateModified": "2025-03-17T21:34:44-07:00", "image": "https://cdn.kqed.org/wp-content/uploads/2020/02/[email protected]" } }, "sticky": false, "nprStoryId": "kqed-13972818", "templateType": "standard", "featuredImageType": "standard", "excludeFromSiteSearch": "Include", "articleAge": "0", "path": "/arts/13972818/dwayne-wiggins-dead-oakland-musician-tony-toni-tone-died", "audioTrackLength": null, "parsedContent": [ { "type": "contentString", "content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>D’Wayne Wiggins, founding member of the legendary R&B group Tony! Toni! Toné!, died Friday morning. He was 64. \u003c/p>\n\u003cp>The cause of death was complications from bladder cancer, which he had been battling for the past year, according to an Instagram post from the Wiggins family. \u003c/p>\n\u003cp>“D’Wayne’s life was incomparable, and his music and service impacted millions around the world, including in his hometown of Oakland, California,” the family wrote. \u003c/p>\n\u003cfigure id=\"attachment_13972822\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/GettyImages-479424812.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13972822\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/GettyImages-479424812.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/GettyImages-479424812-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/GettyImages-479424812-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/GettyImages-479424812-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/GettyImages-479424812-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/GettyImages-479424812-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/GettyImages-479424812-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">D’Wayne Wiggins performs at 94.7 The WAVE’s Soulful Summer Concert at The Greek Theatre on July 3, 2015 in Los Angeles, California. \u003ccite>(Leon Bennett/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With his brother Raphael Saadiq and cousin Timothy Christian Riley, Wiggins formed Tony! Toni! Toné! in 1986 and enjoyed huge success on the R&B charts. But it was his mentorship of younger artists and community work in his hometown of Oakland that made him especially beloved locally.\u003c/p>\n\u003cp>After founding his West Oakland recording studio House of Music, Wiggins worked with young artists like Beyoncé, Keyshia Cole, Kehlani and Zendaya, giving each much-needed support either in the studio or in management at early stages of their careers. \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>“So very sad to hear this news,” \u003ca href=\"https://www.instagram.com/p/DG6wr2Fy56C/\">Tina Knowles wrote on Instagram\u003c/a>, reporting that she and her daughter Beyoncé had just reminisced at length about Wiggins securing a record deal for Destiny’s Child when the members were just 15 and 16. Wiggins also recorded and produced the group’s first album. \u003c/p>\n\u003cp>“He was so kind. So patient, so multi-talented and generous. Beyoncé said that he influenced and taught her so much,” she wrote. \u003c/p>\n\u003cfigure id=\"attachment_13972823\" class=\"wp-caption aligncenter\" style=\"max-width: 1392px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/GettyImages-1406594275.jpg\" alt=\"\" width=\"1392\" height=\"2000\" class=\"size-full wp-image-13972823\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/GettyImages-1406594275.jpg 1392w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/GettyImages-1406594275-800x1149.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/GettyImages-1406594275-1020x1466.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/GettyImages-1406594275-160x230.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/GettyImages-1406594275-768x1103.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/GettyImages-1406594275-1069x1536.jpg 1069w\" sizes=\"auto, (max-width: 1392px) 100vw, 1392px\">\u003cfigcaption class=\"wp-caption-text\">D’wayne Wiggins poses for photos at V-103 FM radio in Chicago, Illinois in May 1999. \u003ccite>(Raymond Boyd/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As an award-winning guitarist, songwriter and producer, Wiggins’ list of hits includes “Anniversary,” “Whatever You Want” and “Feels Good.” With Tony! Toni! Toné!, he released four albums that went either Gold, Platinum, or Double Platinum. \u003c/p>\n\u003cp>“The music is the score to our lives, you know,” Wiggins \u003ca href=\"https://www.kqed.org/arts/13937961/tony-toni-tone-reunion-oakland-interview-paramount-theatre\">told KQED in 2023\u003c/a>. “It helped us stay focused.” \u003c/p>\n\u003cp>Wiggins also produced films, including \u003cem>Life Is\u003c/em>, a documentary of Oakland rapper Too Short, and produced songs for Bay Area rap artists like San Quinn, The Coup and Messy Marv. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>", "attributes": { "named": {}, "numeric": [] } }, { "type": "component", "content": "", "name": "aside", "attributes": { "named": { "postid": "arts_13937961", "label": "" }, "numeric": [] } }, { "type": "contentString", "content": "\u003cdiv class=\"post-body\">\u003cp>After the 1998 release of the group’s final album \u003cem>House of Music\u003c/em>, Wiggins continued Tony! Toni! Toné! as a touring act with other members.\u003c/p>\n\u003cp>“We walked away from the industry. It wasn’t like we weren’t selling [records]. We just had other goals that we wanted to pursue,” Wiggins told KQED.\u003c/p>\n\u003cp>In 2023, original members Wiggins, Saadiq and Riley reunited for a Tony! Toni! Toné! tour, including two sold-out shows at Oakland’s Paramount Theatre. \u003c/p>\n\u003cfigure id=\"attachment_13972824\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/GettyImages-1277909099.jpg\" alt=\"\" width=\"2000\" height=\"1285\" class=\"size-full wp-image-13972824\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/GettyImages-1277909099.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/GettyImages-1277909099-800x514.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/GettyImages-1277909099-1020x655.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/GettyImages-1277909099-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/GettyImages-1277909099-768x493.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/GettyImages-1277909099-1536x987.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/GettyImages-1277909099-1920x1234.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Singer and musician D’Wayne Wiggins of Tony! Toni! Toné! performs during the WGCI-FM ‘Power Fest ’88’ concert at Navy Pier in Chicago, Illinois in August 1988. \u003ccite>(Raymond Boyd/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>An active member of his Oakland community, Wiggins worked with East Oakland’s Youth Uprising, a community center adjacent to Wiggins’ alma mater Castlemont High School. He started \u003ca href=\"https://www.facebook.com/youthaidnonprofit/posts/653125888163449/\">MindSeed Studios\u003c/a>, which provided after school programming to children and youth in East Oakland. He also launched social spaces like the cafe Jahva House, near downtown Oakland.\u003c/p>\n\u003cp>“I didn’t wanna do any clubs. I saw the noise that came with clubs,” Wiggins told KQED about Jahva House. “And my daughter, I wanted her to see family business. So that was a life-changer for me. I learned so much … It was very reciprocal for the Town.”\u003c/p>\n\u003cp>Wiggins also was known for quiet acts of assistance to those in need. As just one example, Kimmie Fresh, one of the Bay Area’s first female rappers, \u003ca href=\"https://www.kqed.org/arts/13934715/kimmie-fresh-real-freaky-tales-oakland\">told KQED\u003c/a> that during a time when she was couch-surfing, Wiggins built her a cafe in his studio so she could start her own business and get on her feet again. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Wiggins was surrounded by friends and family Friday morning, the family wrote. Services have not yet been announced. \u003c/p>\n\n\u003c/div>\u003c/p>", "attributes": { "named": {}, "numeric": [] } } ], "link": "/arts/13972818/dwayne-wiggins-dead-oakland-musician-tony-toni-tone-died", "authors": [ "11491", "185" ], "categories": [ "arts_1", "arts_69", "arts_235", "arts_1564" ], "tags": [ "arts_1686", "arts_22436", "arts_10342", "arts_10278", "arts_1143", "arts_1091", "arts_21789", "arts_924" ], "featImg": "arts_13972819", "label": "arts" }, "arts_13973390": { "type": "posts", "id": "arts_13973390", "meta": { "index": "posts_1716263798", "site": "arts", "id": "13973390", "score": null, "sort": [ 1742498204000 ] }, "guestAuthors": [], "slug": "low-light-darkroom-photography-lab", "title": "Low Light Darkroom Wants to Be San Francisco’s Hub for DIY Photography", "publishDate": 1742498204, "format": "standard", "headTitle": "Low Light Darkroom Wants to Be San Francisco’s Hub for DIY Photography | KQED", "labelTerm": {}, "content": "\u003cp>Aficionados of film \u003ca href=\"https://www.kqed.org/arts/tag/photography\">photography\u003c/a> will soon be able to access a new photo lab opening in San Francisco. Low Light Darkroom, a nonprofit, volunteer-led lab opening in Union Square, will offer studio time for emerging and seasoned photographers to develop their own film and make their own black-and-white or color prints.\u003c/p>\n\u003cp>The darkroom is part of Moongazer Collective, a new community hub that includes a vintage clothing store from The Sunshine Prophecy and art shows put together by Orphan Gallery. The collective’s grand opening, on March 22, includes music sets by local DJs, libations by Madre Mezcal and art by Bay Area painter Charlie Ertola. Low Light Darkroom will showcase photography by San Francisco artist Minnette Lehmann. \u003c/p>\n\u003cp>[aside postID='arts_13970148']Low Light Darkroom hopes to meet the needs of photographers familiar with developing film and making prints, and are ready for a more hands-on approach. Producing one’s own color prints is easier said than done these days; only a few photo labs in the Bay Area provide public access to color darkroom printing, like Photo Laundry in the Mission. (For off-site developing, Low Light recommends full-service film labs like Underdog, which has drop-offs at San Francisco’s Glass Key.)\u003c/p>\n\u003cp>Lor O’Connor, a founding member of Low Light Darkroom and a self-taught film photographer, said she’s been working for 13 years to bring her vision of a Bay Area collective darkroom to life. “There just aren’t a lot of color darkrooms left,” said O’Connor. “We hope to serve people who are looking for that — for a working studio.” \u003c/p>\n\u003cp>Visitors to Saturday’s grand opening will be able to explore the darkroom and collective space, which will operate on a membership model. Memberships to the darkroom are currently priced in tiers based on how many hours photographers anticipate using the space. O’Connor also hopes to start a residency program in the summer.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“We encourage people to experiment and learn from their mistakes, and learn from others,” said O’Connor. “I think that’s kind of the beauty of film … sometimes mistakes become the thing you want to pursue.” \u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Low Light Darkroom’s open house takes place Saturday, March 22, from 2–10 p.m. \u003ca href=\"https://www.instagram.com/p/DHOuafBSxkQ/?img_index=1\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n", "blocks": [], "excerpt": "The nonprofit, volunteer-led lab for DIY photo developing will open soon near Union Square.", "status": "publish", "parent": 0, "modified": 1742498204, "stats": { "hasAudio": false, "hasVideo": false, "hasChartOrMap": false, "iframeSrcs": [], "hasGoogleForm": false, "hasGallery": false, "hasHearkenModule": false, "hasPolis": false, "paragraphCount": 9, "wordCount": 404 }, "headData": { "title": "Low Light Darkroom Wants to Be San Francisco’s Hub for DIY Photography | KQED", "description": "The nonprofit, volunteer-led lab for DIY photo developing will open soon near Union Square.", "ogTitle": "", "ogDescription": "", "ogImgId": "", "twTitle": "", "twDescription": "", "twImgId": "", "schema": { "@context": "http://schema.org", "@type": "Article", "headline": "Low Light Darkroom Wants to Be San Francisco’s Hub for DIY Photography", "datePublished": "2025-03-20T12:16:44-07:00", "dateModified": "2025-03-20T12:16:44-07:00", "image": "https://cdn.kqed.org/wp-content/uploads/2020/02/[email protected]" } }, "source": "The Do List", "sourceUrl": "https://www.kqed.org/thedolist", "sticky": false, "nprStoryId": "kqed-13973390", "templateType": "standard", "featuredImageType": "standard", "excludeFromSiteSearch": "Include", "articleAge": "0", "path": "/arts/13973390/low-light-darkroom-photography-lab", "audioTrackLength": null, "parsedContent": [ { "type": "contentString", "content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Aficionados of film \u003ca href=\"https://www.kqed.org/arts/tag/photography\">photography\u003c/a> will soon be able to access a new photo lab opening in San Francisco. Low Light Darkroom, a nonprofit, volunteer-led lab opening in Union Square, will offer studio time for emerging and seasoned photographers to develop their own film and make their own black-and-white or color prints.\u003c/p>\n\u003cp>The darkroom is part of Moongazer Collective, a new community hub that includes a vintage clothing store from The Sunshine Prophecy and art shows put together by Orphan Gallery. The collective’s grand opening, on March 22, includes music sets by local DJs, libations by Madre Mezcal and art by Bay Area painter Charlie Ertola. Low Light Darkroom will showcase photography by San Francisco artist Minnette Lehmann. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>", "attributes": { "named": {}, "numeric": [] } }, { "type": "component", "content": "", "name": "aside", "attributes": { "named": { "postid": "arts_13970148", "label": "" }, "numeric": [] } }, { "type": "contentString", "content": "\u003cdiv class=\"post-body\">\u003cp>Low Light Darkroom hopes to meet the needs of photographers familiar with developing film and making prints, and are ready for a more hands-on approach. Producing one’s own color prints is easier said than done these days; only a few photo labs in the Bay Area provide public access to color darkroom printing, like Photo Laundry in the Mission. (For off-site developing, Low Light recommends full-service film labs like Underdog, which has drop-offs at San Francisco’s Glass Key.)\u003c/p>\n\u003cp>Lor O’Connor, a founding member of Low Light Darkroom and a self-taught film photographer, said she’s been working for 13 years to bring her vision of a Bay Area collective darkroom to life. “There just aren’t a lot of color darkrooms left,” said O’Connor. “We hope to serve people who are looking for that — for a working studio.” \u003c/p>\n\u003cp>Visitors to Saturday’s grand opening will be able to explore the darkroom and collective space, which will operate on a membership model. Memberships to the darkroom are currently priced in tiers based on how many hours photographers anticipate using the space. O’Connor also hopes to start a residency program in the summer.\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>“We encourage people to experiment and learn from their mistakes, and learn from others,” said O’Connor. “I think that’s kind of the beauty of film … sometimes mistakes become the thing you want to pursue.” \u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Low Light Darkroom’s open house takes place Saturday, March 22, from 2–10 p.m. \u003ca href=\"https://www.instagram.com/p/DHOuafBSxkQ/?img_index=1\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>", "attributes": { "named": {}, "numeric": [] } } ], "link": "/arts/13973390/low-light-darkroom-photography-lab", "authors": [ "11919" ], "programs": [ "arts_140" ], "categories": [ "arts_1", "arts_22313", "arts_70" ], "tags": [ "arts_822", "arts_1146", "arts_585" ], "featImg": "arts_13973392", "label": "source_arts_13973390" }, "arts_13973342": { "type": "posts", "id": "arts_13973342", "meta": { "index": "posts_1716263798", "site": "arts", "id": "13973342", "score": null, "sort": [ 1742428483000 ] }, "guestAuthors": [], "slug": "susan-weil-col-gallery-review", "title": "Susan Weil Graces SF With Seven Decades of Dazzling Art", "publishDate": 1742428483, "format": "standard", "headTitle": "Susan Weil Graces SF With Seven Decades of Dazzling Art | KQED", "labelTerm": {}, "content": "\u003cp>It’s difficult to compete with the view from \u003ca href=\"https://www.colgallery.com/\">COL Gallery\u003c/a>, which looks out from Ghirardelli Square to Aquatic Cove, Alcatraz and a sparkling San Francisco Bay. But if any artist’s up to the task, it’s \u003ca href=\"https://susanweil.com/\">Susan Weil\u003c/a>, whose mini-retrospective in the one-and-a-half-year-old gallery provides a dazzling survey of seven decades of painting, collage and mixed media work.\u003c/p>\n\u003cp>Weil, who lives in New York and turns 95 later this month, doesn’t fit within a particular art historical narrative — or rather, not just \u003ci>one\u003c/i> particular narrative. Instead, she flits in and out of different movements and associations, mostly doing her own thing despite prevailing or commercial trends, and doing it very well.\u003c/p>\n\u003cfigure id=\"attachment_13973353\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13973353\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Collage-Figure.jpg\" alt=\"wide artwork with three women's figures and rainbow striples\" width=\"2048\" height=\"1366\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Collage-Figure.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Collage-Figure-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Collage-Figure-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Collage-Figure-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Collage-Figure-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Collage-Figure-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Collage-Figure-1920x1281.jpg 1920w\" sizes=\"auto, (max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Susan Weil, ‘Collage Figure,’ 1966. \u003ccite>(COL Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Her earliest piece in the show, \u003ci>Collage Figure\u003c/i> (1966), is a combination of photographic images and acrylic paint, a horizontal spread of women’s bodies radiating rainbow-hued waves behind a slick plexi surface. Like all of the work in this show, the nearly 60-year-old piece is remarkably well preserved; it looks like it could have been made yesterday.\u003c/p>\n\u003cp>The multimedia collage is also indicative of Weil’s fragmented approaches to come. In the show’s 13 works, bodies break up or blur into constituent parts and spread across multiple canvases. Painted paper and canvas curves, crumples and hangs in elegant, three-dimensional shapes.\u003c/p>\n\u003cp>The show opens with a work that seems made for its current San Francisco setting, despite the title of \u003ci>Munich Birds\u003c/i> (1989). Made with eight pieces of paper pinned high on the gallery wall, it depicts three birds in flight. One bird’s cut-out wing curls gracefully where it meets the ceiling. Seagull calls from outside add a fitting soundtrack; the whole assemblage seems on the verge of bursting apart like a startled flock.\u003c/p>\n\u003cfigure id=\"attachment_13973355\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13973355\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Munich-Birds.jpg\" alt=\"silver painted pieces of paper arranged angularly with images of three birds\" width=\"2048\" height=\"1366\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Munich-Birds.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Munich-Birds-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Munich-Birds-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Munich-Birds-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Munich-Birds-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Munich-Birds-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Munich-Birds-1920x1281.jpg 1920w\" sizes=\"auto, (max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Susan Weil, ‘Munich Birds,’ 1989. \u003ccite>(COL Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Similarly appropriate to its temporary home is the multi-canvas piece \u003ci>Swimmers\u003c/i> (2008), a watery acrylic painting that perfectly captures the splashy movements of two swimmers, who could easily be the Dolphin Club or South End Rowing Club members paddling back and forth through Aquatic Cove.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Weil’s interest in bodies includes celestial bodies. \u003ci>Three Moons\u003c/i> (1990), a simple construction of three ivory-painted canvas circles, drapes like a set of vestments around an absent religious figure. The triptych \u003ci>Sindhind\u003c/i> (1977) is a starry night sky marked not by our Milky Way, but a thick arc of crinkled paper. A favorite moment here: when the unpainted, white backside of Weil’s paper reveals itself, looking like a chunk of light knocked through the firmament.\u003c/p>\n\u003cp>While there’s a bit of “How’d she do this?” with some of Weil’s work, her materials are never illusory, or trying to render themselves invisible. Even if we don’t have the skill to replicate her vivid cyanotype print or a stiff crumpled paper sculpture, we can clearly see how these things are made.\u003c/p>\n\u003cfigure id=\"attachment_13973354\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13973354\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Mirror.jpg\" alt=\"two boxes with blue to green gradient from top to bottom: one a piece of fabric, the other a print of that fabric\" width=\"2048\" height=\"1366\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Mirror.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Mirror-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Mirror-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Mirror-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Mirror-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Mirror-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Mirror-1920x1281.jpg 1920w\" sizes=\"auto, (max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Susan Weil, ‘Mirror,’ 1976. The diptych is made of silkscreen on fabric and silkscreen on paper, both in plexi frames. \u003ccite>(COL Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Her long career has been one of material experimentation and daily practice, commitments perhaps encouraged by her early involvement with the alternative art school \u003ca href=\"https://www.blackmountaincollege.org/\">Black Mountain College\u003c/a>. It was Weil who told Robert Rauschenberg (to whom she was married 1950–1953) about the school; they met while taking art classes in Paris. In 1948, they studied under Josef Albers alongside Ruth Asawa (whose first public sculpture, \u003ci>Andrea\u003c/i>, is installed at Ghirardelli Square).\u003c/p>\n\u003cp>Weil’s long bio is filled with legendary spaces (\u003ca href=\"https://www.davidzwirner.com/collect/112-greene-street-the-early-years-19701974-book\">112 Greene Street\u003c/a>, \u003ca href=\"https://en.wikipedia.org/wiki/MoMA_PS1\">P.S. 1\u003c/a>) and numerous firsts, including the delightful fact that her second husband, architect Bernard Kirschenbaum, built her \u003ca href=\"https://bernardkirschenbaum.com/category/architecture/\">the first residential geodesic dome\u003c/a>.\u003c/p>\n\u003cp>While Weil’s practice is well known back east, amazingly, this is her first West Coast solo exhibition, a major coup for the fledgling COL Gallery. As an introduction to her inventive, multifaceted practice, this show is a gratifying one, anchored by \u003ci>Array\u003c/i> (1982), a nearly seven-foot-wide painted paper piece in which a hand pulls back what I like to think of as a heavy curtain. Revealing, perhaps, Susan Weil’s long life of artmaking.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://www.colgallery.com/upcomingexhibitions/susanweil\">Susan Weil\u003c/a>’ is on view at COL Gallery (887 Beach St., San Francisco) through May 9, 2025.\u003c/i>\u003c/p>\n\n", "blocks": [], "excerpt": "The 95-year-old NY artist’s mini-retrospective captures her fragmented approach to mixed media artmaking.", "status": "publish", "parent": 0, "modified": 1742428483, "stats": { "hasAudio": false, "hasVideo": false, "hasChartOrMap": false, "iframeSrcs": [], "hasGoogleForm": false, "hasGallery": false, "hasHearkenModule": false, "hasPolis": false, "paragraphCount": 14, "wordCount": 751 }, "headData": { "title": "Susan Weil at COL Gallery: Seven Decades of Dazzling Art | KQED", "description": "The 95-year-old NY artist’s mini-retrospective captures her fragmented approach to mixed media artmaking.", "ogTitle": "Susan Weil Graces SF With Seven Decades of Dazzling Art", "ogDescription": "", "ogImgId": "", "twTitle": "Susan Weil Graces SF With Seven Decades of Dazzling Art", "twDescription": "", "twImgId": "", "socialTitle": "Susan Weil at COL Gallery: Seven Decades of Dazzling Art %%page%% %%sep%% KQED", "schema": { "@context": "http://schema.org", "@type": "Article", "headline": "Susan Weil Graces SF With Seven Decades of Dazzling Art", "datePublished": "2025-03-19T16:54:43-07:00", "dateModified": "2025-03-19T16:54:43-07:00", "image": "https://cdn.kqed.org/wp-content/uploads/2020/02/[email protected]" } }, "source": "The Do List", "sourceUrl": "https://www.kqed.org/thedolist", "sticky": false, "nprStoryId": "kqed-13973342", "templateType": "standard", "featuredImageType": "standard", "excludeFromSiteSearch": "Include", "articleAge": "0", "path": "/arts/13973342/susan-weil-col-gallery-review", "audioTrackLength": null, "parsedContent": [ { "type": "contentString", "content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s difficult to compete with the view from \u003ca href=\"https://www.colgallery.com/\">COL Gallery\u003c/a>, which looks out from Ghirardelli Square to Aquatic Cove, Alcatraz and a sparkling San Francisco Bay. But if any artist’s up to the task, it’s \u003ca href=\"https://susanweil.com/\">Susan Weil\u003c/a>, whose mini-retrospective in the one-and-a-half-year-old gallery provides a dazzling survey of seven decades of painting, collage and mixed media work.\u003c/p>\n\u003cp>Weil, who lives in New York and turns 95 later this month, doesn’t fit within a particular art historical narrative — or rather, not just \u003ci>one\u003c/i> particular narrative. Instead, she flits in and out of different movements and associations, mostly doing her own thing despite prevailing or commercial trends, and doing it very well.\u003c/p>\n\u003cfigure id=\"attachment_13973353\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13973353\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Collage-Figure.jpg\" alt=\"wide artwork with three women's figures and rainbow striples\" width=\"2048\" height=\"1366\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Collage-Figure.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Collage-Figure-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Collage-Figure-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Collage-Figure-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Collage-Figure-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Collage-Figure-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Collage-Figure-1920x1281.jpg 1920w\" sizes=\"auto, (max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Susan Weil, ‘Collage Figure,’ 1966. \u003ccite>(COL Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Her earliest piece in the show, \u003ci>Collage Figure\u003c/i> (1966), is a combination of photographic images and acrylic paint, a horizontal spread of women’s bodies radiating rainbow-hued waves behind a slick plexi surface. Like all of the work in this show, the nearly 60-year-old piece is remarkably well preserved; it looks like it could have been made yesterday.\u003c/p>\n\u003cp>The multimedia collage is also indicative of Weil’s fragmented approaches to come. In the show’s 13 works, bodies break up or blur into constituent parts and spread across multiple canvases. Painted paper and canvas curves, crumples and hangs in elegant, three-dimensional shapes.\u003c/p>\n\u003cp>The show opens with a work that seems made for its current San Francisco setting, despite the title of \u003ci>Munich Birds\u003c/i> (1989). Made with eight pieces of paper pinned high on the gallery wall, it depicts three birds in flight. One bird’s cut-out wing curls gracefully where it meets the ceiling. Seagull calls from outside add a fitting soundtrack; the whole assemblage seems on the verge of bursting apart like a startled flock.\u003c/p>\n\u003cfigure id=\"attachment_13973355\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13973355\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Munich-Birds.jpg\" alt=\"silver painted pieces of paper arranged angularly with images of three birds\" width=\"2048\" height=\"1366\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Munich-Birds.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Munich-Birds-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Munich-Birds-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Munich-Birds-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Munich-Birds-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Munich-Birds-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Munich-Birds-1920x1281.jpg 1920w\" sizes=\"auto, (max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Susan Weil, ‘Munich Birds,’ 1989. \u003ccite>(COL Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Similarly appropriate to its temporary home is the multi-canvas piece \u003ci>Swimmers\u003c/i> (2008), a watery acrylic painting that perfectly captures the splashy movements of two swimmers, who could easily be the Dolphin Club or South End Rowing Club members paddling back and forth through Aquatic Cove.\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>Weil’s interest in bodies includes celestial bodies. \u003ci>Three Moons\u003c/i> (1990), a simple construction of three ivory-painted canvas circles, drapes like a set of vestments around an absent religious figure. The triptych \u003ci>Sindhind\u003c/i> (1977) is a starry night sky marked not by our Milky Way, but a thick arc of crinkled paper. A favorite moment here: when the unpainted, white backside of Weil’s paper reveals itself, looking like a chunk of light knocked through the firmament.\u003c/p>\n\u003cp>While there’s a bit of “How’d she do this?” with some of Weil’s work, her materials are never illusory, or trying to render themselves invisible. Even if we don’t have the skill to replicate her vivid cyanotype print or a stiff crumpled paper sculpture, we can clearly see how these things are made.\u003c/p>\n\u003cfigure id=\"attachment_13973354\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13973354\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Mirror.jpg\" alt=\"two boxes with blue to green gradient from top to bottom: one a piece of fabric, the other a print of that fabric\" width=\"2048\" height=\"1366\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Mirror.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Mirror-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Mirror-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Mirror-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Mirror-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Mirror-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Mirror-1920x1281.jpg 1920w\" sizes=\"auto, (max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Susan Weil, ‘Mirror,’ 1976. The diptych is made of silkscreen on fabric and silkscreen on paper, both in plexi frames. \u003ccite>(COL Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Her long career has been one of material experimentation and daily practice, commitments perhaps encouraged by her early involvement with the alternative art school \u003ca href=\"https://www.blackmountaincollege.org/\">Black Mountain College\u003c/a>. It was Weil who told Robert Rauschenberg (to whom she was married 1950–1953) about the school; they met while taking art classes in Paris. In 1948, they studied under Josef Albers alongside Ruth Asawa (whose first public sculpture, \u003ci>Andrea\u003c/i>, is installed at Ghirardelli Square).\u003c/p>\n\u003cp>Weil’s long bio is filled with legendary spaces (\u003ca href=\"https://www.davidzwirner.com/collect/112-greene-street-the-early-years-19701974-book\">112 Greene Street\u003c/a>, \u003ca href=\"https://en.wikipedia.org/wiki/MoMA_PS1\">P.S. 1\u003c/a>) and numerous firsts, including the delightful fact that her second husband, architect Bernard Kirschenbaum, built her \u003ca href=\"https://bernardkirschenbaum.com/category/architecture/\">the first residential geodesic dome\u003c/a>.\u003c/p>\n\u003cp>While Weil’s practice is well known back east, amazingly, this is her first West Coast solo exhibition, a major coup for the fledgling COL Gallery. As an introduction to her inventive, multifaceted practice, this show is a gratifying one, anchored by \u003ci>Array\u003c/i> (1982), a nearly seven-foot-wide painted paper piece in which a hand pulls back what I like to think of as a heavy curtain. Revealing, perhaps, Susan Weil’s long life of artmaking.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://www.colgallery.com/upcomingexhibitions/susanweil\">Susan Weil\u003c/a>’ is on view at COL Gallery (887 Beach St., San Francisco) through May 9, 2025.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>", "attributes": { "named": {}, "numeric": [] } } ], "link": "/arts/13973342/susan-weil-col-gallery-review", "authors": [ "61" ], "programs": [ "arts_140" ], "categories": [ "arts_1", "arts_22313", "arts_70" ], "tags": [ "arts_10278", "arts_769", "arts_585" ], "featImg": "arts_13973357", "label": "source_arts_13973342" }, "arts_13973275": { "type": "posts", "id": "arts_13973275", "meta": { "index": "posts_1716263798", "site": "arts", "id": "13973275", "score": null, "sort": [ 1742417295000 ] }, "guestAuthors": [], "slug": "best-deals-oakland-berkeley-restaurant-week-2025", "title": "The Best Deals of Oakland and Berkeley Restaurant Weeks", "publishDate": 1742417295, "format": "standard", "headTitle": "The Best Deals of Oakland and Berkeley Restaurant Weeks | KQED", "labelTerm": {}, "content": "\u003cp>It’s that time of the year again, when food lovers don their comfiest loose-fitting pants for a weeklong jamboree of prix-fixe meal deals. We’re talking, of course, about Restaurant Week, and for value-conscious \u003ca href=\"https://www.kqed.org/arts/tag/east-bay\">East Bay\u003c/a> diners, the rest of this month is especially jam-packed: Both \u003ca href=\"https://www.visitoakland.com/events/annual-events/restaurant-week/\">Oakland\u003c/a> (March 20–30) and \u003ca href=\"https://www.visitberkeley.com/food-drinks/restaurant-week/\">Berkeley\u003c/a> (March 21–31) are hosting their respective Restaurant Week promotions.\u003c/p>\n\u003cp>For this year’s event, Oakland is leaning heavily into its recently-nabbed title as “best food city in the U.S.” (according to a \u003ca href=\"https://www.cntraveler.com/gallery/best-food-cities-in-the-us-readers-choice-awards\">\u003ci>Condé Nast Traveler\u003c/i> poll\u003c/a>) — a much-needed feather in its cap during these tumultuous times. Meanwhile, this year’s Berkeley Restaurant Week has a chocolate theme, with a number of participants offering \u003ca href=\"https://www.visitberkeley.com/food-drinks/restaurant-week/plant-based-tier/\">dessert specials\u003c/a> in addition to the usual array of discounted meal deals.\u003c/p>\n\u003cp>It’s a lot of information to sort through, though. For instance, the Oakland tourism bureau’s \u003ca href=\"https://www.visitoakland.com/events/annual-events/restaurant-week/\">website for the promotion\u003c/a> lists no fewer than 145 participating restaurants, about two dozen of which hadn’t yet specified their Restaurant Week menus as of this posting (including personal favorites like \u003ca href=\"https://www.kqed.org/arts/13936332/tchaka-haitian-restaurant-oakland\">T’chaka\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13958114/todos-oakland-la-casita-comeback-menudo-pozole\">Todos\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13962759/viridian-asian-american-cocktail-bar-late-night-food-oakland\">Viridian\u003c/a>).\u003c/p>\n\u003cp>So, to make it easier to map out your dining plan, I’ve put together a handy guide to 10 of my favorite Oakland and Berkeley Restaurant Week deals this year — the restaurants offering the steepest discounts and/or the most interesting special menus.\u003c/p>\n\u003ch2>OAKLAND\u003c/h2>\n\u003cfigure id=\"attachment_13973344\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13973344\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/cocobreeze-chicken.jpg\" alt=\"Jerk chicken, plantains and rice in a takeout container.\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/cocobreeze-chicken.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/cocobreeze-chicken-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/cocobreeze-chicken-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/cocobreeze-chicken-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/cocobreeze-chicken-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/cocobreeze-chicken-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/cocobreeze-chicken-1920x1440.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A jerk chicken plate from Cocobreeze. \u003ccite>(Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.visitoakland.com/listing/cocobreeze-caribbean-restaurant-%7c-orw25-special-offer/8281/\">Cocobreeze\u003c/a>\u003cbr>\n\u003cem>2370 High St.\u003c/em>\u003c/h2>\n\u003cp>Cocobreeze is probably the East Bay’s top spot for Caribbean-style curries and roti wraps. What I like about their Restaurant Week four-course prix-fixe is how there are different special entrees over the course of the week — so, oxtails on both Saturdays (March 22 and 29) and a special brunch menu on Sundays (March 23 and 30).\u003c/p>\n\u003ch2>\u003ca href=\"https://www.visitoakland.com/listing/tarts-de-feybesse-%7c-orw25-special-offer/8237/\">Tarts de Feybesse\u003c/a>\u003cbr>\n\u003cem>224 24th St.\u003c/em>\u003c/h2>\n\u003cp>Before opening Oakland’s newest buzzy French bakery, Monique and Paul Feybesse sold some of the Bay Area’s most exquisitely beautiful breads and pastries out of their home kitchen in Vallejo. For Restaurant Week, they’ll be running two specials: a tarte flambée with smoked carrots and pea shoots and a seeded epi loaf.\u003c/p>\n\u003cfigure id=\"attachment_13973345\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13973345\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/chimmelier-wings.jpg\" alt=\"A plate of Korean fried chicken wings.\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/chimmelier-wings.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/chimmelier-wings-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/chimmelier-wings-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/chimmelier-wings-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/chimmelier-wings-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/chimmelier-wings-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/chimmelier-wings-1920x1440.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The honey butter chicken wings at Chimmelier’s Berkeley location. \u003ccite>(Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.visitoakland.com/listing/oh-g-burger-%7c-orw25-special-offer/8262/\">Oh G Burger\u003c/a> x \u003ca href=\"https://www.visitoakland.com/listing/chimmelier-%7c-orw25-special-offer/8190/\">Chimmelier\u003c/a>\u003cbr>\n\u003cem>3905 Broadway\u003c/em>\u003c/h2>\n\u003cp>This newly opened collaboration between the folks behind longtime KBBQ staple Ohgane and a flashy L.A.-based chicken outfit sells some of the East Bay’s tastiest smash burgers and Korean fried chicken wings. They’re offering a $15 lunch deal for a standard smash burger or small fried chicken sandwich, fries and a drink — a savings of about $6, as you essentially get the fries for free. (But if it’s your first visit, I highly recommend also trying the wings and maybe one of the Korean American–inflected options, like the Bulgogi Burger.)\u003c/p>\n\u003ch2>\u003ca href=\"https://www.visitoakland.com/listing/jaji-%7c-orw25-special-offer/8261/\">Jaji\u003c/a>\u003cbr>\n\u003cem>422 24th St.\u003c/em>\u003c/h2>\n\u003cp>This Uptown newcomer specializes in upscale, modern Afghan cuisine, and its three-course, $65-per-person dinner prix-fixe (with a minimum of two diners participating) looks like one of the best deals of the week: If you select the most expensive options for the appetizer (confit duck dumpling, $30) and entree (whole trout, $72), you’re already saving $37, not even counting dessert.\u003c/p>\n\u003ch2>\u003ca href=\"https://www.visitoakland.com/listing/burdell-%7c-orw25-special-offer/8122/\">Burdell\u003c/a>\u003cbr>\n\u003cem>4640 Telegraph Ave.\u003c/em>\u003c/h2>\n\u003cp>With its refined takes on soul food, Burdell might be the most celebrated fine dining restaurant to open in the Bay Area in the past two years. It’s offering a dinner special exclusively for Restaurant Week: a double smothered pork chop with a wild mushroom and bacon gravy. Even regular degular smothered pork chops are an impossibly lovely, decadent thing, so I’m especially curious to see what chef Geoff Davis’ take is like.\u003c/p>\n\u003ch2>BERKELEY\u003c/h2>\n\u003cfigure id=\"attachment_13954348\" class=\"wp-caption alignnone\" style=\"max-width: 2016px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954348\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gaumenkitzel-featured-crop.jpg\" alt=\"German pork schnitzel topped with a fried egg, on a white plate.\" width=\"2016\" height=\"1386\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gaumenkitzel-featured-crop.jpg 2016w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gaumenkitzel-featured-crop-800x550.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gaumenkitzel-featured-crop-1020x701.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gaumenkitzel-featured-crop-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gaumenkitzel-featured-crop-768x528.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gaumenkitzel-featured-crop-1536x1056.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gaumenkitzel-featured-crop-1920x1320.jpg 1920w\" sizes=\"auto, (max-width: 2016px) 100vw, 2016px\">\u003cfigcaption class=\"wp-caption-text\">Crispy pork schnitzel, one of the now-closed Gaumenkitzel, which has been reborn, at a new location, as Anja’s Kitchen. \u003ccite>(Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.visitberkeley.com/directory/anjas-kitchen/\">Anja’s Kitchen\u003c/a>\u003cbr>\n\u003cem>1966 University Ave.\u003c/em>\u003c/h2>\n\u003cp>Almost exactly one year ago, German food lovers mourned the \u003ca href=\"https://www.kqed.org/arts/13954342/gaumenkitzel-berkeley-german-restaurant-closing\">closure of Gaumenkitzel\u003c/a>, which had low-key been one of Berkeley’s best restaurants for more than a decade. Anja’s is chef Anja Voth’s new, cozier, more modest little cafe, and for her Restaurant Week \u003ca href=\"https://s3-us-west-1.amazonaws.com/visit-berkeley/CMS/Anjas-Kitchen.pdf?mtime=20250313112123\">menu\u003c/a>, she’ll be bringing back at least one old Gaumenkitzel classic: my all-time favorite pork schnitzel, this time served in sandwich form.\u003c/p>\n\u003ch2>\u003ca href=\"https://www.visitberkeley.com/directory/pyeong-chang-tofu/\">Pyeong Chang Tofu\u003c/a>\u003cbr>\n\u003cem>1269 University Ave.\u003c/em>\u003c/h2>\n\u003cp>The beloved soondubu house is running a \u003ca href=\"https://s3-us-west-1.amazonaws.com/visit-berkeley/CMS/Pyeong-Chang-Tofu_250317_161501.pdf?mtime=20250317161501\">$35 prix-fixe\u003c/a> that features one of its signature tofu stews as well as the kimchi pancake Samin Nosrat (of \u003ci>Salt Fat Acid Heat \u003c/i>fame) loved so much she wrote a love letter to it in the \u003ca href=\"https://www.nytimes.com/2020/06/10/magazine/bored-with-the-same-old-try-these-crispy-kimchi-pancakes.html\">\u003ci>New York Times\u003c/i>\u003c/a>\u003ci>. \u003c/i>Value-wise, that’s about a $7 savings off the regular menu prices.\u003c/p>\n\u003cfigure id=\"attachment_13973346\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13973346\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/fish-and-bird-meatball.jpg\" alt=\"Meatball in brown gravy in a white serving plate.\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/fish-and-bird-meatball.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/fish-and-bird-meatball-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/fish-and-bird-meatball-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/fish-and-bird-meatball-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/fish-and-bird-meatball-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/fish-and-bird-meatball-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/fish-and-bird-meatball-1920x1440.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">An earlier takeout version of Fish & Bird’s nikomi hamburg — a giant meatball in gravy. \u003ccite>(Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.visitberkeley.com/directory/fish-bird-sousaku-izakaya/\">Fish & Bird Sousaku Izakaya\u003c/a>\u003cbr>\n\u003cem>2451 Shattuck Ave.\u003c/em>\u003c/h2>\n\u003cp>This sleek izakaya is serving a \u003ca href=\"https://s3-us-west-1.amazonaws.com/visit-berkeley/CMS/Fish-Bird.pdf?mtime=20250313112140\">three-course, $54 dinner prix-fixe\u003c/a> that includes as an option a version of one of my all-time favorite dishes from the COVID takeout-only prepared foods era: the wagyu nikomi hamburg steak — a giant meatball simmered in the most delicious savory brown gravy.\u003c/p>\n\u003ch2>\u003ca href=\"https://www.visitberkeley.com/directory/thayirsadam/\">Thayir Sadam\u003c/a>\u003cbr>\n\u003cem>2379 Telegraph Ave.\u003c/em>\u003c/h2>\n\u003cp>One of Berkeley’s most \u003ca href=\"https://www.sfchronicle.com/food/restaurants/article/thayir-sadam-berkeley-indian-restaurant-19890521.php\">intriguing new restaurants\u003c/a>, Thayir Sadam specializes in South Indian curd rice, served with your choice of sweet and savory toppings. Its \u003ca href=\"https://s3-us-west-1.amazonaws.com/visit-berkeley/CMS/Thayirsadam.pdf?mtime=20250313112223\">Restaurant Week menu\u003c/a> leans into the sweets, with a variety of special toppings, drinks and pastries on offer.\u003c/p>\n\u003ch2>\u003ca href=\"https://www.visitberkeley.com/directory/myungrang-berkeley/\">Myungrang\u003c/a>\u003cbr>\n\u003cem>2598 Telegraph Ave.\u003c/em>\u003c/h2>\n\u003cp>Myungrang specializes in crunchy, oozy, outrageously topped Korean hot dogs — and during Restaurant Week, you’ll get a free taiyaki (fish-shaped pastry) with the purchase of any dog or tteokbokki.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n", "blocks": [], "excerpt": "It's a great time to revisit old favorites and explore newcomers in two of the Bay's great food scenes.", "status": "publish", "parent": 0, "modified": 1742590685, "stats": { "hasAudio": false, "hasVideo": false, "hasChartOrMap": false, "iframeSrcs": [], "hasGoogleForm": false, "hasGallery": false, "hasHearkenModule": false, "hasPolis": false, "paragraphCount": 16, "wordCount": 1010 }, "headData": { "title": "The Best Deals of Oakland and Berkeley Restaurant Weeks | KQED", "description": "It's a great time to revisit old favorites and explore newcomers in two of the Bay's great food scenes.", "ogTitle": "", "ogDescription": "", "ogImgId": "", "twTitle": "", "twDescription": "", "twImgId": "", "schema": { "@context": "http://schema.org", "@type": "Article", "headline": "The Best Deals of Oakland and Berkeley Restaurant Weeks", "datePublished": "2025-03-19T13:48:15-07:00", "dateModified": "2025-03-21T13:58:05-07:00", "image": "https://cdn.kqed.org/wp-content/uploads/2020/02/[email protected]" } }, "source": "The Do List", "sourceUrl": "https://www.kqed.org/thedolist", "sticky": false, "nprStoryId": "kqed-13973275", "templateType": "standard", "featuredImageType": "standard", "excludeFromSiteSearch": "Include", "articleAge": "0", "path": "/arts/13973275/best-deals-oakland-berkeley-restaurant-week-2025", "audioTrackLength": null, "parsedContent": [ { "type": "contentString", "content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s that time of the year again, when food lovers don their comfiest loose-fitting pants for a weeklong jamboree of prix-fixe meal deals. We’re talking, of course, about Restaurant Week, and for value-conscious \u003ca href=\"https://www.kqed.org/arts/tag/east-bay\">East Bay\u003c/a> diners, the rest of this month is especially jam-packed: Both \u003ca href=\"https://www.visitoakland.com/events/annual-events/restaurant-week/\">Oakland\u003c/a> (March 20–30) and \u003ca href=\"https://www.visitberkeley.com/food-drinks/restaurant-week/\">Berkeley\u003c/a> (March 21–31) are hosting their respective Restaurant Week promotions.\u003c/p>\n\u003cp>For this year’s event, Oakland is leaning heavily into its recently-nabbed title as “best food city in the U.S.” (according to a \u003ca href=\"https://www.cntraveler.com/gallery/best-food-cities-in-the-us-readers-choice-awards\">\u003ci>Condé Nast Traveler\u003c/i> poll\u003c/a>) — a much-needed feather in its cap during these tumultuous times. Meanwhile, this year’s Berkeley Restaurant Week has a chocolate theme, with a number of participants offering \u003ca href=\"https://www.visitberkeley.com/food-drinks/restaurant-week/plant-based-tier/\">dessert specials\u003c/a> in addition to the usual array of discounted meal deals.\u003c/p>\n\u003cp>It’s a lot of information to sort through, though. For instance, the Oakland tourism bureau’s \u003ca href=\"https://www.visitoakland.com/events/annual-events/restaurant-week/\">website for the promotion\u003c/a> lists no fewer than 145 participating restaurants, about two dozen of which hadn’t yet specified their Restaurant Week menus as of this posting (including personal favorites like \u003ca href=\"https://www.kqed.org/arts/13936332/tchaka-haitian-restaurant-oakland\">T’chaka\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13958114/todos-oakland-la-casita-comeback-menudo-pozole\">Todos\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13962759/viridian-asian-american-cocktail-bar-late-night-food-oakland\">Viridian\u003c/a>).\u003c/p>\n\u003cp>So, to make it easier to map out your dining plan, I’ve put together a handy guide to 10 of my favorite Oakland and Berkeley Restaurant Week deals this year — the restaurants offering the steepest discounts and/or the most interesting special menus.\u003c/p>\n\u003ch2>OAKLAND\u003c/h2>\n\u003cfigure id=\"attachment_13973344\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13973344\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/cocobreeze-chicken.jpg\" alt=\"Jerk chicken, plantains and rice in a takeout container.\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/cocobreeze-chicken.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/cocobreeze-chicken-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/cocobreeze-chicken-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/cocobreeze-chicken-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/cocobreeze-chicken-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/cocobreeze-chicken-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/cocobreeze-chicken-1920x1440.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A jerk chicken plate from Cocobreeze. \u003ccite>(Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.visitoakland.com/listing/cocobreeze-caribbean-restaurant-%7c-orw25-special-offer/8281/\">Cocobreeze\u003c/a>\u003cbr>\n\u003cem>2370 High St.\u003c/em>\u003c/h2>\n\u003cp>Cocobreeze is probably the East Bay’s top spot for Caribbean-style curries and roti wraps. What I like about their Restaurant Week four-course prix-fixe is how there are different special entrees over the course of the week — so, oxtails on both Saturdays (March 22 and 29) and a special brunch menu on Sundays (March 23 and 30).\u003c/p>\n\u003ch2>\u003ca href=\"https://www.visitoakland.com/listing/tarts-de-feybesse-%7c-orw25-special-offer/8237/\">Tarts de Feybesse\u003c/a>\u003cbr>\n\u003cem>224 24th St.\u003c/em>\u003c/h2>\n\u003cp>Before opening Oakland’s newest buzzy French bakery, Monique and Paul Feybesse sold some of the Bay Area’s most exquisitely beautiful breads and pastries out of their home kitchen in Vallejo. For Restaurant Week, they’ll be running two specials: a tarte flambée with smoked carrots and pea shoots and a seeded epi loaf.\u003c/p>\n\u003cfigure id=\"attachment_13973345\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13973345\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/chimmelier-wings.jpg\" alt=\"A plate of Korean fried chicken wings.\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/chimmelier-wings.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/chimmelier-wings-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/chimmelier-wings-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/chimmelier-wings-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/chimmelier-wings-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/chimmelier-wings-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/chimmelier-wings-1920x1440.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The honey butter chicken wings at Chimmelier’s Berkeley location. \u003ccite>(Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.visitoakland.com/listing/oh-g-burger-%7c-orw25-special-offer/8262/\">Oh G Burger\u003c/a> x \u003ca href=\"https://www.visitoakland.com/listing/chimmelier-%7c-orw25-special-offer/8190/\">Chimmelier\u003c/a>\u003cbr>\n\u003cem>3905 Broadway\u003c/em>\u003c/h2>\n\u003cp>This newly opened collaboration between the folks behind longtime KBBQ staple Ohgane and a flashy L.A.-based chicken outfit sells some of the East Bay’s tastiest smash burgers and Korean fried chicken wings. They’re offering a $15 lunch deal for a standard smash burger or small fried chicken sandwich, fries and a drink — a savings of about $6, as you essentially get the fries for free. (But if it’s your first visit, I highly recommend also trying the wings and maybe one of the Korean American–inflected options, like the Bulgogi Burger.)\u003c/p>\n\u003ch2>\u003ca href=\"https://www.visitoakland.com/listing/jaji-%7c-orw25-special-offer/8261/\">Jaji\u003c/a>\u003cbr>\n\u003cem>422 24th St.\u003c/em>\u003c/h2>\n\u003cp>This Uptown newcomer specializes in upscale, modern Afghan cuisine, and its three-course, $65-per-person dinner prix-fixe (with a minimum of two diners participating) looks like one of the best deals of the week: If you select the most expensive options for the appetizer (confit duck dumpling, $30) and entree (whole trout, $72), you’re already saving $37, not even counting dessert.\u003c/p>\n\u003ch2>\u003ca href=\"https://www.visitoakland.com/listing/burdell-%7c-orw25-special-offer/8122/\">Burdell\u003c/a>\u003cbr>\n\u003cem>4640 Telegraph Ave.\u003c/em>\u003c/h2>\n\u003cp>With its refined takes on soul food, Burdell might be the most celebrated fine dining restaurant to open in the Bay Area in the past two years. It’s offering a dinner special exclusively for Restaurant Week: a double smothered pork chop with a wild mushroom and bacon gravy. Even regular degular smothered pork chops are an impossibly lovely, decadent thing, so I’m especially curious to see what chef Geoff Davis’ take is like.\u003c/p>\n\u003ch2>BERKELEY\u003c/h2>\n\u003cfigure id=\"attachment_13954348\" class=\"wp-caption alignnone\" style=\"max-width: 2016px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954348\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gaumenkitzel-featured-crop.jpg\" alt=\"German pork schnitzel topped with a fried egg, on a white plate.\" width=\"2016\" height=\"1386\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gaumenkitzel-featured-crop.jpg 2016w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gaumenkitzel-featured-crop-800x550.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gaumenkitzel-featured-crop-1020x701.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gaumenkitzel-featured-crop-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gaumenkitzel-featured-crop-768x528.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gaumenkitzel-featured-crop-1536x1056.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gaumenkitzel-featured-crop-1920x1320.jpg 1920w\" sizes=\"auto, (max-width: 2016px) 100vw, 2016px\">\u003cfigcaption class=\"wp-caption-text\">Crispy pork schnitzel, one of the now-closed Gaumenkitzel, which has been reborn, at a new location, as Anja’s Kitchen. \u003ccite>(Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.visitberkeley.com/directory/anjas-kitchen/\">Anja’s Kitchen\u003c/a>\u003cbr>\n\u003cem>1966 University Ave.\u003c/em>\u003c/h2>\n\u003cp>Almost exactly one year ago, German food lovers mourned the \u003ca href=\"https://www.kqed.org/arts/13954342/gaumenkitzel-berkeley-german-restaurant-closing\">closure of Gaumenkitzel\u003c/a>, which had low-key been one of Berkeley’s best restaurants for more than a decade. Anja’s is chef Anja Voth’s new, cozier, more modest little cafe, and for her Restaurant Week \u003ca href=\"https://s3-us-west-1.amazonaws.com/visit-berkeley/CMS/Anjas-Kitchen.pdf?mtime=20250313112123\">menu\u003c/a>, she’ll be bringing back at least one old Gaumenkitzel classic: my all-time favorite pork schnitzel, this time served in sandwich form.\u003c/p>\n\u003ch2>\u003ca href=\"https://www.visitberkeley.com/directory/pyeong-chang-tofu/\">Pyeong Chang Tofu\u003c/a>\u003cbr>\n\u003cem>1269 University Ave.\u003c/em>\u003c/h2>\n\u003cp>The beloved soondubu house is running a \u003ca href=\"https://s3-us-west-1.amazonaws.com/visit-berkeley/CMS/Pyeong-Chang-Tofu_250317_161501.pdf?mtime=20250317161501\">$35 prix-fixe\u003c/a> that features one of its signature tofu stews as well as the kimchi pancake Samin Nosrat (of \u003ci>Salt Fat Acid Heat \u003c/i>fame) loved so much she wrote a love letter to it in the \u003ca href=\"https://www.nytimes.com/2020/06/10/magazine/bored-with-the-same-old-try-these-crispy-kimchi-pancakes.html\">\u003ci>New York Times\u003c/i>\u003c/a>\u003ci>. \u003c/i>Value-wise, that’s about a $7 savings off the regular menu prices.\u003c/p>\n\u003cfigure id=\"attachment_13973346\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13973346\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/fish-and-bird-meatball.jpg\" alt=\"Meatball in brown gravy in a white serving plate.\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/fish-and-bird-meatball.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/fish-and-bird-meatball-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/fish-and-bird-meatball-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/fish-and-bird-meatball-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/fish-and-bird-meatball-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/fish-and-bird-meatball-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/fish-and-bird-meatball-1920x1440.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">An earlier takeout version of Fish & Bird’s nikomi hamburg — a giant meatball in gravy. \u003ccite>(Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.visitberkeley.com/directory/fish-bird-sousaku-izakaya/\">Fish & Bird Sousaku Izakaya\u003c/a>\u003cbr>\n\u003cem>2451 Shattuck Ave.\u003c/em>\u003c/h2>\n\u003cp>This sleek izakaya is serving a \u003ca href=\"https://s3-us-west-1.amazonaws.com/visit-berkeley/CMS/Fish-Bird.pdf?mtime=20250313112140\">three-course, $54 dinner prix-fixe\u003c/a> that includes as an option a version of one of my all-time favorite dishes from the COVID takeout-only prepared foods era: the wagyu nikomi hamburg steak — a giant meatball simmered in the most delicious savory brown gravy.\u003c/p>\n\u003ch2>\u003ca href=\"https://www.visitberkeley.com/directory/thayirsadam/\">Thayir Sadam\u003c/a>\u003cbr>\n\u003cem>2379 Telegraph Ave.\u003c/em>\u003c/h2>\n\u003cp>One of Berkeley’s most \u003ca href=\"https://www.sfchronicle.com/food/restaurants/article/thayir-sadam-berkeley-indian-restaurant-19890521.php\">intriguing new restaurants\u003c/a>, Thayir Sadam specializes in South Indian curd rice, served with your choice of sweet and savory toppings. Its \u003ca href=\"https://s3-us-west-1.amazonaws.com/visit-berkeley/CMS/Thayirsadam.pdf?mtime=20250313112223\">Restaurant Week menu\u003c/a> leans into the sweets, with a variety of special toppings, drinks and pastries on offer.\u003c/p>\n\u003ch2>\u003ca href=\"https://www.visitberkeley.com/directory/myungrang-berkeley/\">Myungrang\u003c/a>\u003cbr>\n\u003cem>2598 Telegraph Ave.\u003c/em>\u003c/h2>\n\u003cp>Myungrang specializes in crunchy, oozy, outrageously topped Korean hot dogs — and during Restaurant Week, you’ll get a free taiyaki (fish-shaped pastry) with the purchase of any dog or tteokbokki.\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": "/arts/13973275/best-deals-oakland-berkeley-restaurant-week-2025", "authors": [ "11743" ], "programs": [ "arts_140" ], "categories": [ "arts_1", "arts_12276", "arts_22313" ], "tags": [ "arts_22040", "arts_1270", "arts_10278", "arts_10422", "arts_1297", "arts_1143", "arts_585" ], "featImg": "arts_13936339", "label": "source_arts_13973275" }, "arts_13973046": { "type": "posts", "id": "arts_13973046", "meta": { "index": "posts_1716263798", "site": "arts", "id": "13973046", "score": null, "sort": [ 1741891841000 ] }, "guestAuthors": [], "slug": "sweetdragon-best-pies-san-jose-pi-day", "title": "A Tiny Takeout Window Sells Some of the Tastiest Pies in San Jose", "publishDate": 1741891841, "format": "standard", "headTitle": "A Tiny Takeout Window Sells Some of the Tastiest Pies in San Jose | KQED", "labelTerm": {}, "content": "\u003cp>A small red building in \u003ca href=\"https://www.kqed.org/arts/tag/san-jose\">San Jose’s\u003c/a> Willow Glen neighborhood is a laboratory for unbridled culinary experimentation. At \u003ca href=\"https://sweetdragonbaking.com/\">Sweetdragon Baking Company\u003c/a>, nut brittles are filled with potato chips, pies are loaded with Japanese curry, and sweet-and-savory bacon cookies are spiked with Jack Daniels.\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/C8DhvIvvSJh/\">A mural\u003c/a> in front of the building provides a sneak peek into the bakery’s whimsical approach to recipe development: A dragon in a white chef’s toque whisks a bowl of batter while several animal friends bustle about measuring out ingredients for some unknown masterpiece.\u003c/p>\n\u003cp>Hway-ling Hsu started Sweetdragon in 2010 after over a decade of working as a lawyer in New York and San Jose. “After my youngest was finished with high school, I thought I should see if anyone will buy something I cook,” Hsu recalls. As it turns out, a lot of people were interested, and in 2020 she started selling her pies and brittles out of a pickup window she refers to as “the pie hole.” What started as a COVID safety precaution remains today: The window is a quick, fun way to get customers their baked goods.\u003c/p>\n\u003cfigure id=\"attachment_13973067\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13973067\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/sweetdragon-hsu.jpg\" alt=\"A woman in an orange apron stands in front of a mural of colorful cartoon animals baking.\" width=\"2000\" height=\"1126\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/sweetdragon-hsu.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/sweetdragon-hsu-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/sweetdragon-hsu-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/sweetdragon-hsu-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/sweetdragon-hsu-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/sweetdragon-hsu-1536x865.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/sweetdragon-hsu-1920x1081.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Sweetdragon founder Hway-ling Hsu poses for a portrait in front of a mural by local artist Jennifer Lay. \u003ccite>(Octavio Peña)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>These days, Hsu bakes 700 pies a week. One of Sweetdragon’s busiest days of the year is Pi Day (March 14), when foodies and math enthusiasts celebrate the ratio of a circle’s circumference to its diameter by increasing the width of their waistline — through the act of gobbling down some pie, of course. Hsu says it’s like a mini Thanksgiving, with customers lining up before the bakery opens.\u003c/p>\n\u003cp>Sweetdragon’s signature Pi Day special is a guava cheesecake pie with a pi symbol made out of crust in the center. That pie is already sold out for Friday, but it’s still available for preorder (with or without the pi symbol) for the rest of March. For customers just walking up to the window on Pi Day, other available specials will include pistachio-vanilla brittle cookies, flourless orange tortes and, hopefully, a brand new orange cream pie Hsu is hoping she’ll have ready in time to debut.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Sweetdragon’s most popular pies are its chicken pot pie and seasonal fruit options such as apple, cherry and strawberry. But the real fun is trying all the new, experimental flavors that pop up on the menu.\u003c/p>\n\u003cp>“Someone will say, ‘Oh, I wonder if this would taste good. Or, look at that thing over there — would that be good for pie? And then we try it,” says Hsu.\u003c/p>\n\u003cfigure id=\"attachment_13973069\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13973069\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/savory-pies.jpg\" alt=\"Four small pies inside a to-go box.\" width=\"2000\" height=\"1126\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/savory-pies.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/savory-pies-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/savory-pies-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/savory-pies-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/savory-pies-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/savory-pies-1536x865.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/savory-pies-1920x1081.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A sampling of Sweetdragon’s creative savory pies. \u003ccite>(Octavio Peña)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Through trial and error, she discovered that strawberry pies work best when made using a blend of dried and fresh strawberries. “This keeps pies from exploding, intensifies the flavor and does not create big pools of starchy goo,” says Hsu. “Win-win!” She also remedied an overly beige taro pie by adding a touch of purple yam. The brighter color wound up boosting sales.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cspan style=\"color: #2b2b2b;font-weight: 400\">[aside postID='arts_13969923,arts_13958926,arts_13967902']\u003c/span>\u003c/span>Of course, not all experiments are a success. “I didn’t seem able to make the almond brittle without burning it,” says Hsu. “I’m not a professional cook, and it took me a while to figure out that a lower flame would work better.” To her surprise, people loved the flavor of burnt almond, so she kept it as a permanent item. She’s learned to lean into the risks associated with experimentation and even found a way to share the baked goods that don’t quite make the cut: “Now, when we do experiments, if something comes out a little bit exploded or the wrong shape, we’ll just have that for our ‘oops box.’” Everything in the box is sold at a discounted price.\u003c/p>\n\u003cp>Sweetdragon also makes pies in collaboration with other South Bay food businesses. The filling for the Japanese chicken curry pie, for example, is made by \u003ca href=\"https://www.instagram.com/mogu.curry/\">Mogu Curry\u003c/a>, a local popup. She has also featured fillings from San Jose favorites \u003ca href=\"https://www.instagram.com/baryakitchen/\">Barya Kitchen\u003c/a> and \u003ca href=\"https://www.instagram.com/_hetsay_/\">Hết Sẩy\u003c/a>.\u003c/p>\n\u003cp>Meanwhile, Hsu’s brittle recipe development is even more impressive than the pies. When she started, she had no idea how to make this confection and consulted a PhD chemical engineer — her husband — for advice. Brittle-making is finicky and involves breaking down table sugar (sucrose) into fructose and glucose before adding baking soda to make tiny bubbles. Those bubbles become the pores in the candy, providing its characteristic brittle texture.\u003c/p>\n\u003cfigure id=\"attachment_13973070\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13973070\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/brittle.jpg\" alt=\"Three shards of nut brittle on a white plate.\" width=\"2000\" height=\"1126\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/brittle.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/brittle-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/brittle-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/brittle-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/brittle-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/brittle-1536x865.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/brittle-1920x1081.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Sweetdragon’s nut brittles are shatteringly crisp. \u003ccite>(Octavio Peña)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Making brittle is still tricky,” says Hsu. “I think it’s because there’s a lot of variables. Even if you have the same amount in the pot every time, the ambient air temperature, the humidity, whether there’s a little breeze — all those things seem to have an effect.” Now that she’s mastered the technique, she’s able to get funky with it, conjuring brittles filled with nontraditional ingredients like \u003ca href=\"https://sweetdragonbaking.com/collections/brittle/products/day-at-the-stadium\">potato chips\u003c/a>, pretzels, beer, serrano chiles and chicharron.\u003c/p>\n\u003cp>Hsu’s brittle doesn’t stick to the crevices of your teeth or bind your mouth shut; instead, it shatters with even the gentlest bite. Each variety has its own unique texture dependent on its fillings, and an idiosyncratic quality that comes from making each small batch by hand. And Hsu makes constant adjustments too. She recalls a pharmaceutical-engineer-turned-cake-baker who told her that in both medicine and baking, you can’t just make indefinitely larger batches without changing the formula.\u003c/p>\n\u003cp>It seems, then, that the secret formula at Sweetdragon is that there isn’t one. But if something has the potential to taste delicious encased in brittle, you can be certain that Hsu will find a way to make it happen.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/sweetdragonbaking\">\u003ci>Sweetdragon\u003c/i>\u003c/a>\u003ci> is open Wednesday to Saturday 9 a.m.–5 p.m. at 898 Lincoln Ave. in San Jose. Pi Day 2025 is Friday, March 14.\u003c/i>\u003c/p>\n\n", "blocks": [], "excerpt": "Sweetdragon Baking Company's sweet and savory pies and brittles make it a popular Pi Day destination.", "status": "publish", "parent": 0, "modified": 1741891841, "stats": { "hasAudio": false, "hasVideo": false, "hasChartOrMap": false, "iframeSrcs": [], "hasGoogleForm": false, "hasGallery": false, "hasHearkenModule": false, "hasPolis": false, "paragraphCount": 17, "wordCount": 1069 }, "headData": { "title": "Sweetdragon Sells Some of the Best Pies in San Jose | KQED", "description": "Sweetdragon Baking Company's sweet and savory pies and brittles make it a popular Pi Day destination.", "ogTitle": "A Tiny Takeout Window Sells Some of the Tastiest Pies in San Jose", "ogDescription": "", "ogImgId": "", "twTitle": "A Tiny Takeout Window Sells Some of the Tastiest Pies in San Jose", "twDescription": "", "twImgId": "", "socialTitle": "Sweetdragon Sells Some of the Best Pies in San Jose %%page%% %%sep%% KQED", "schema": { "@context": "http://schema.org", "@type": "Article", "headline": "A Tiny Takeout Window Sells Some of the Tastiest Pies in San Jose", "datePublished": "2025-03-13T11:50:41-07:00", "dateModified": "2025-03-13T11:50:41-07:00", "image": "https://cdn.kqed.org/wp-content/uploads/2020/02/[email protected]" } }, "source": "Food", "sourceUrl": "https://www.kqed.org/food", "sticky": false, "nprStoryId": "kqed-13973046", "templateType": "standard", "featuredImageType": "standard", "excludeFromSiteSearch": "Include", "articleAge": "0", "path": "/arts/13973046/sweetdragon-best-pies-san-jose-pi-day", "audioTrackLength": null, "parsedContent": [ { "type": "contentString", "content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A small red building in \u003ca href=\"https://www.kqed.org/arts/tag/san-jose\">San Jose’s\u003c/a> Willow Glen neighborhood is a laboratory for unbridled culinary experimentation. At \u003ca href=\"https://sweetdragonbaking.com/\">Sweetdragon Baking Company\u003c/a>, nut brittles are filled with potato chips, pies are loaded with Japanese curry, and sweet-and-savory bacon cookies are spiked with Jack Daniels.\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/C8DhvIvvSJh/\">A mural\u003c/a> in front of the building provides a sneak peek into the bakery’s whimsical approach to recipe development: A dragon in a white chef’s toque whisks a bowl of batter while several animal friends bustle about measuring out ingredients for some unknown masterpiece.\u003c/p>\n\u003cp>Hway-ling Hsu started Sweetdragon in 2010 after over a decade of working as a lawyer in New York and San Jose. “After my youngest was finished with high school, I thought I should see if anyone will buy something I cook,” Hsu recalls. As it turns out, a lot of people were interested, and in 2020 she started selling her pies and brittles out of a pickup window she refers to as “the pie hole.” What started as a COVID safety precaution remains today: The window is a quick, fun way to get customers their baked goods.\u003c/p>\n\u003cfigure id=\"attachment_13973067\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13973067\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/sweetdragon-hsu.jpg\" alt=\"A woman in an orange apron stands in front of a mural of colorful cartoon animals baking.\" width=\"2000\" height=\"1126\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/sweetdragon-hsu.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/sweetdragon-hsu-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/sweetdragon-hsu-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/sweetdragon-hsu-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/sweetdragon-hsu-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/sweetdragon-hsu-1536x865.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/sweetdragon-hsu-1920x1081.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Sweetdragon founder Hway-ling Hsu poses for a portrait in front of a mural by local artist Jennifer Lay. \u003ccite>(Octavio Peña)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>These days, Hsu bakes 700 pies a week. One of Sweetdragon’s busiest days of the year is Pi Day (March 14), when foodies and math enthusiasts celebrate the ratio of a circle’s circumference to its diameter by increasing the width of their waistline — through the act of gobbling down some pie, of course. Hsu says it’s like a mini Thanksgiving, with customers lining up before the bakery opens.\u003c/p>\n\u003cp>Sweetdragon’s signature Pi Day special is a guava cheesecake pie with a pi symbol made out of crust in the center. That pie is already sold out for Friday, but it’s still available for preorder (with or without the pi symbol) for the rest of March. For customers just walking up to the window on Pi Day, other available specials will include pistachio-vanilla brittle cookies, flourless orange tortes and, hopefully, a brand new orange cream pie Hsu is hoping she’ll have ready in time to debut.\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>Sweetdragon’s most popular pies are its chicken pot pie and seasonal fruit options such as apple, cherry and strawberry. But the real fun is trying all the new, experimental flavors that pop up on the menu.\u003c/p>\n\u003cp>“Someone will say, ‘Oh, I wonder if this would taste good. Or, look at that thing over there — would that be good for pie? And then we try it,” says Hsu.\u003c/p>\n\u003cfigure id=\"attachment_13973069\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13973069\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/savory-pies.jpg\" alt=\"Four small pies inside a to-go box.\" width=\"2000\" height=\"1126\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/savory-pies.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/savory-pies-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/savory-pies-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/savory-pies-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/savory-pies-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/savory-pies-1536x865.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/savory-pies-1920x1081.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A sampling of Sweetdragon’s creative savory pies. \u003ccite>(Octavio Peña)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Through trial and error, she discovered that strawberry pies work best when made using a blend of dried and fresh strawberries. “This keeps pies from exploding, intensifies the flavor and does not create big pools of starchy goo,” says Hsu. “Win-win!” She also remedied an overly beige taro pie by adding a touch of purple yam. The brighter color wound up boosting sales.\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_13969923,arts_13958926,arts_13967902", "label": "" }, "numeric": [] } }, { "type": "contentString", "content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/span>Of course, not all experiments are a success. “I didn’t seem able to make the almond brittle without burning it,” says Hsu. “I’m not a professional cook, and it took me a while to figure out that a lower flame would work better.” To her surprise, people loved the flavor of burnt almond, so she kept it as a permanent item. She’s learned to lean into the risks associated with experimentation and even found a way to share the baked goods that don’t quite make the cut: “Now, when we do experiments, if something comes out a little bit exploded or the wrong shape, we’ll just have that for our ‘oops box.’” Everything in the box is sold at a discounted price.\u003c/p>\n\u003cp>Sweetdragon also makes pies in collaboration with other South Bay food businesses. The filling for the Japanese chicken curry pie, for example, is made by \u003ca href=\"https://www.instagram.com/mogu.curry/\">Mogu Curry\u003c/a>, a local popup. She has also featured fillings from San Jose favorites \u003ca href=\"https://www.instagram.com/baryakitchen/\">Barya Kitchen\u003c/a> and \u003ca href=\"https://www.instagram.com/_hetsay_/\">Hết Sẩy\u003c/a>.\u003c/p>\n\u003cp>Meanwhile, Hsu’s brittle recipe development is even more impressive than the pies. When she started, she had no idea how to make this confection and consulted a PhD chemical engineer — her husband — for advice. Brittle-making is finicky and involves breaking down table sugar (sucrose) into fructose and glucose before adding baking soda to make tiny bubbles. Those bubbles become the pores in the candy, providing its characteristic brittle texture.\u003c/p>\n\u003cfigure id=\"attachment_13973070\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13973070\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/brittle.jpg\" alt=\"Three shards of nut brittle on a white plate.\" width=\"2000\" height=\"1126\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/brittle.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/brittle-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/brittle-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/brittle-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/brittle-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/brittle-1536x865.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/brittle-1920x1081.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Sweetdragon’s nut brittles are shatteringly crisp. \u003ccite>(Octavio Peña)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Making brittle is still tricky,” says Hsu. “I think it’s because there’s a lot of variables. Even if you have the same amount in the pot every time, the ambient air temperature, the humidity, whether there’s a little breeze — all those things seem to have an effect.” Now that she’s mastered the technique, she’s able to get funky with it, conjuring brittles filled with nontraditional ingredients like \u003ca href=\"https://sweetdragonbaking.com/collections/brittle/products/day-at-the-stadium\">potato chips\u003c/a>, pretzels, beer, serrano chiles and chicharron.\u003c/p>\n\u003cp>Hsu’s brittle doesn’t stick to the crevices of your teeth or bind your mouth shut; instead, it shatters with even the gentlest bite. Each variety has its own unique texture dependent on its fillings, and an idiosyncratic quality that comes from making each small batch by hand. And Hsu makes constant adjustments too. She recalls a pharmaceutical-engineer-turned-cake-baker who told her that in both medicine and baking, you can’t just make indefinitely larger batches without changing the formula.\u003c/p>\n\u003cp>It seems, then, that the secret formula at Sweetdragon is that there isn’t one. But if something has the potential to taste delicious encased in brittle, you can be certain that Hsu will find a way to make it happen.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/sweetdragonbaking\">\u003ci>Sweetdragon\u003c/i>\u003c/a>\u003ci> is open Wednesday to Saturday 9 a.m.–5 p.m. at 898 Lincoln Ave. in San Jose. Pi Day 2025 is Friday, March 14.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>", "attributes": { "named": {}, "numeric": [] } } ], "link": "/arts/13973046/sweetdragon-best-pies-san-jose-pi-day", "authors": [ "11903" ], "programs": [ "arts_140" ], "categories": [ "arts_1", "arts_12276" ], "tags": [ "arts_8796", "arts_22144", "arts_10278", "arts_1297", "arts_1084", "arts_585" ], "featImg": "arts_13973064", "label": "source_arts_13973046" }, "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": {}, "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": 1741287407, "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": "2025-03-06T10:56:47-08:00", "image": "https://cdn.kqed.org/wp-content/uploads/2020/02/[email protected]" } }, "source": "Rebel Girls From Bay Area History", "sourceUrl": "https://www.kqed.org/rebelgirls", "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": "source_arts_13966861" }, "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" } }, "programsReducer": { "possible": { "id": "possible", "title": "Possible", "info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. 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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. 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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. Through wisdom from some of the greatest thinkers of our time, host Tonya Mosley explores what it means to grow and thrive as a Black person in America, while discovering new ways of being that serve as a portal to more love, more healing, and more joy.", "airtime": "", "imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Truth-Be-Told-Podcast-Tile-360x360-1.jpg", "imageAlt": "KQED Truth Be Told with Tonya Mosley", "officialWebsiteLink": "https://www.kqed.ord/podcasts/truthbetold", "meta": { "site": "news", "source": "npr" }, "link": "/podcasts/truthbetold", "subscribe": { "apple": "https://podcasts.apple.com/us/podcast/truth-be-told/id1462216572", "google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvbmV3cy9jYXRlZ29yeS90cnV0aC1iZS10b2xkLXBvZGNhc3QvZmVlZA", "npr": "https://www.npr.org/podcasts/719210818/truth-be-told", "stitcher": "https://www.stitcher.com/s?fid=398170&refid=stpr", "spotify": "https://open.spotify.com/show/587DhwTBxke6uvfwDfaV5N" } }, "wait-wait-dont-tell-me": { "id": "wait-wait-dont-tell-me", "title": "Wait Wait... 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. Washington Week is the longest-running news and public affairs program on PBS and features journalists -- not pundits -- lending insight and perspective to the week's important news stories.", "airtime": "SAT 1:30am-2am", "imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/washington-week.jpg", "officialWebsiteLink": "http://www.pbs.org/weta/washingtonweek/", "meta": { "site": "news", "source": "pbs" }, "link": "/radio/program/washington-week", "subscribe": { "apple": "https://itunes.apple.com/us/podcast/washington-week-audio-pbs/id83324702?mt=2", "tuneIn": "https://tunein.com/podcasts/Current-Affairs/Washington-Week-p693/", "rss": "http://feeds.pbs.org/pbs/weta/washingtonweek-audio" } }, "weekend-edition-saturday": { "id": "weekend-edition-saturday", "title": "Weekend Edition Saturday", "info": "Weekend Edition Saturday wraps up the week's news and offers a mix of analysis and features on a wide range of topics, including arts, sports, entertainment, and human interest stories. 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If no candidate reaches majority, top two candidates advance to runoff in general election.", "raceReadTheStory": "", "raceType": "top1", "timeUpdated": "7:05 PM", "dateUpdated": "April 4, 2024", "totalVotes": 14322, "candidates": [ { "candidateName": "Kansen Chu", "candidateIncumbent": false, "candidateParty": "", "voteCount": 5931 }, { "candidateName": "David Cohen", "candidateIncumbent": true, "candidateParty": "", "voteCount": 8391 } ] }, "SCSJD6": { "id": "SCSJD6", "type": "localRace", "location": "Santa Clara", "raceName": "San José City Council, District 6", "raceDescription": "Candidate with majority vote wins seat. If no candidate reaches majority, top two candidates advance to runoff in general election.", "raceReadTheStory": "", "raceType": "top2", "timeUpdated": "7:05 PM", "dateUpdated": "April 4, 2024", "totalVotes": 22146, "candidates": [ { "candidateName": "Olivia Navarro", "candidateIncumbent": false, "candidateParty": "", "voteCount": 6913 }, { "candidateName": "Alex Shoor", "candidateIncumbent": false, "candidateParty": "", "voteCount": 3850 }, { "candidateName": "Angelo \"A.J.\" Pasciuti", "candidateIncumbent": false, "candidateParty": "", "voteCount": 2688 }, { "candidateName": "Michael Mulcahy", "candidateIncumbent": false, "candidateParty": "", "voteCount": 8695 } ] }, "SCSJD8": { "id": "SCSJD8", "type": "localRace", "location": "Santa Clara", "raceName": "San José City Council, District 8", "raceDescription": "Candidate with majority vote wins seat. 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If no candidate reaches majority, top two candidates advance to runoff in general election.", "raceReadTheStory": "", "raceType": "top2", "timeUpdated": "7:05 PM", "dateUpdated": "April 4, 2024", "totalVotes": 22799, "candidates": [ { "candidateName": "George Casey", "candidateIncumbent": false, "candidateParty": "", "voteCount": 8805 }, { "candidateName": "Arjun Batra", "candidateIncumbent": true, "candidateParty": "", "voteCount": 8354 }, { "candidateName": "Lenka Wright", "candidateIncumbent": false, "candidateParty": "", "voteCount": 5640 } ] }, "SCMeasureA": { "id": "SCMeasureA", "type": "localRace", "location": "Santa Clara", "raceName": "Measure A", "raceDescription": "Santa Clara. Appointed city clerk. 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Passes with 2/3 vote.", "raceReadTheStory": "", "raceType": "yesNo", "timeUpdated": "9:01 PM", "dateUpdated": "Dec 3, 2024", "totalVotes": 52536, "candidates": [ { "candidateName": "Yes", "candidateIncumbent": false, "candidateParty": "", "voteCount": 39508 }, { "candidateName": "No", "candidateIncumbent": false, "candidateParty": "", "voteCount": 13028 } ] }, "AlamedaMeasureZ": { "id": "AlamedaMeasureZ", "type": "localRace", "location": "Alameda", "raceName": "Measure Z", "raceDescription": "Berkeley. Sugary drinks and sweetenders tax. Passes with majority vote.", "raceReadTheStory": "", "raceType": "yesNo", "timeUpdated": "9:01 PM", "dateUpdated": "Dec 3, 2024", "totalVotes": 52929, "candidates": [ { "candidateName": "Yes", "candidateIncumbent": false, "candidateParty": "", "voteCount": 42280 }, { "candidateName": "No", "candidateIncumbent": false, "candidateParty": "", "voteCount": 10649 } ] }, "AlamedaMeasureAA": { "id": "AlamedaMeasureAA", "type": "localRace", "location": "Alameda", "raceName": "Measure AA", "raceDescription": "Berkeley. Spending limit. Passes with majority vote. ", "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. ", "raceReadTheStory": "", "raceType": "yesNo", "timeUpdated": "9:01 PM", "dateUpdated": "Dec 3, 2024", "totalVotes": 52882, "candidates": [ { "candidateName": "Yes", "candidateIncumbent": false, "candidateParty": "", "voteCount": 29623 }, { "candidateName": "No", "candidateIncumbent": false, "candidateParty": "", "voteCount": 23259 } ] }, "AlamedaMeasureCC": { "id": "AlamedaMeasureCC", "type": "localRace", "location": "Alameda", "raceName": "Measure CC", "raceDescription": "Berkeley. Affordable housing programs. Passes with majority vote. ", "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. Passes with majority vote.", "raceReadTheStory": "", "raceType": "yesNo", "timeUpdated": "9:01 PM", "dateUpdated": "Dec 3, 2024", "totalVotes": 49700, "candidates": [ { "candidateName": "Yes", "candidateIncumbent": false, "candidateParty": "", "voteCount": 30761 }, { "candidateName": "No", "candidateIncumbent": false, "candidateParty": "", "voteCount": 18939 } ] }, "AlamedaMeasureEE": { "id": "AlamedaMeasureEE", "type": "localRace", "location": "Alameda", "raceName": "Measure EE", "raceDescription": "Berkeley. Parcel tax. 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. 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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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"candidateParty": "", "voteCount": 6463 } ] }, "AlamedaOaklandSchoolDirectorDistrict7": { "id": "AlamedaOaklandSchoolDirectorDistrict7", "type": "localRace", "location": "Alameda", "raceName": "Oakland School Director, District 7 ", "raceDescription": "Top candidate wins seat.", "raceReadTheStory": "", "raceType": "top1", "timeUpdated": "9:01 PM", "dateUpdated": "Dec 3, 2024", "totalVotes": 12366, "candidates": [ { "candidateName": "Clifford Thompson", "candidateIncumbent": true, "candidateParty": "", "voteCount": 7776 }, { "candidateName": "Domonic Ware", "candidateIncumbent": false, "candidateParty": "", "voteCount": 4590 } ] }, "AlamedaSanLeandroCityCouncilDistrict1": { "id": "AlamedaSanLeandroCityCouncilDistrict1", "type": "localRace", "location": "Alameda", "raceName": "San Leandro City Council, District 1", "raceDescription": "Top candidate wins seat.", "raceReadTheStory": "", "raceType": "top1", "timeUpdated": "9:01 PM", "dateUpdated": "Dec 3, 2024", "totalVotes": 22501, "candidates": [ { "candidateName": "Sbeydeh Viveros Walton", "candidateIncumbent": true, "candidateParty": "", "voteCount": 22501 } ] }, "AlamedaSanLeandroCityCouncilDistrict2": { "id": "AlamedaSanLeandroCityCouncilDistrict2", "type": "localRace", "location": "Alameda", "raceName": "San Leandro City Council, District 2", "raceDescription": "Top candidate wins seat.", "raceReadTheStory": "", "raceType": "top1", "timeUpdated": "9:01 PM", "dateUpdated": "Dec 3, 2024", "totalVotes": 28755, "candidates": [ { "candidateName": "Ed Hernandez", "candidateIncumbent": false, "candidateParty": "", "voteCount": 14150 }, { "candidateName": "Bryan Azevedo", "candidateIncumbent": true, "candidateParty": "", "voteCount": 14605 } ] }, "AlamedaSanLeandroCityCouncilDistrict4": { "id": "AlamedaSanLeandroCityCouncilDistrict4", "type": "localRace", "location": "Alameda", "raceName": "San Leandro City Council, District 4 ", "raceDescription": "Top candidate wins seat.", "raceReadTheStory": "", "raceType": "top1", "timeUpdated": "9:01 PM", "dateUpdated": "Dec 3, 2024", "totalVotes": 22361, "candidates": [ { "candidateName": "Fred Simon", "candidateIncumbent": false, "candidateParty": "", "voteCount": 22361 } ] }, "AlamedaSanLeandroCityCouncilDistrict6": { "id": "AlamedaSanLeandroCityCouncilDistrict6", "type": "localRace", "location": "Alameda", "raceName": "San Leandro City Council, District 6 ", "raceDescription": "Top candidate wins seat.", "raceReadTheStory": "", "raceType": "top1", "timeUpdated": "9:01 PM", "dateUpdated": "Dec 3, 2024", "totalVotes": 27155, "candidates": [ { "candidateName": "Robert Aguilar Bulatao", "candidateIncumbent": false, "candidateParty": "", "voteCount": 10457 }, { "candidateName": "Dylan Boldt", "candidateIncumbent": false, "candidateParty": "", "voteCount": 16698 } ] }, "CCContraCostaCountyBoardofEducationGoverningBoardArea1": { "id": "CCContraCostaCountyBoardofEducationGoverningBoardArea1", "type": "localRace", "location": "Contra Costa", "raceName": "Contra Costa County Board of Education Governing Board, Area 1", "raceDescription": "Top candidate wins seat.", "raceReadTheStory": "", "raceType": "top1", "timeUpdated": "7:39 PM", "dateUpdated": "Dec 3, 2024", "totalVotes": 71155, "candidates": [ { "candidateName": "Anthony Edward Caro", "candidateIncumbent": false, "candidateParty": "", "voteCount": 28949 }, { "candidateName": "Daniel Nathan-Heiss", "candidateIncumbent": false, "candidateParty": "", "voteCount": 42206 } ] }, "CCContraCostaCountyBoardofEducationGoverningBoardArea3": { "id": "CCContraCostaCountyBoardofEducationGoverningBoardArea3", "type": "localRace", "location": "Contra Costa", "raceName": "Contra Costa County Board of Education Governing Board, Area 3", "raceDescription": "Top candidate wins seat.", "raceReadTheStory": "", "raceType": "top1", "timeUpdated": "7:39 PM", "dateUpdated": "Dec 3, 2024", "totalVotes": 79805, "candidates": [ { "candidateName": "Yazmin Llamas", "candidateIncumbent": true, "candidateParty": "", "voteCount": 50322 }, { "candidateName": "Vicki Gordon", "candidateIncumbent": false, "candidateParty": "", "voteCount": 29483 } ] }, "CCContraCostaCommunityCollegeDistrictGoverningBoardWard2": { "id": "CCContraCostaCommunityCollegeDistrictGoverningBoardWard2", "type": "localRace", "location": "Contra Costa", "raceName": "Contra Costa Community College District Governing Board, Ward 2", "raceDescription": "Top candidate wins seat.", "raceReadTheStory": "", "raceType": "top1", "timeUpdated": "7:39 PM", "dateUpdated": "Dec 3, 2024", "totalVotes": 104994, "candidates": [ { "candidateName": "Diana J. Honig", "candidateIncumbent": false, "candidateParty": "", "voteCount": 77127 }, { "candidateName": "Kofi Opong-Mensah", "candidateIncumbent": false, "candidateParty": "", "voteCount": 27867 } ] }, "CCContraCostaCommunityCollegeDistrictGoverningBoardWard5": { "id": "CCContraCostaCommunityCollegeDistrictGoverningBoardWard5", "type": "localRace", "location": "Contra Costa", "raceName": "Contra Costa Community College District Governing Board, Ward 5", "raceDescription": "Top candidate wins seat.", "raceReadTheStory": "", "raceType": "top1", "timeUpdated": "7:39 PM", "dateUpdated": "Dec 3, 2024", "totalVotes": 70073, "candidates": [ { "candidateName": "Debra Vinson", "candidateIncumbent": false, "candidateParty": "", "voteCount": 25582 }, { "candidateName": "Fernando Sandoval", "candidateIncumbent": true, "candidateParty": "", "voteCount": 44491 } ] }, "CCAcalanesUnionHighSchoolDistrictGoverningBoard": { "id": "CCAcalanesUnionHighSchoolDistrictGoverningBoard", "type": "localRace", "location": "Contra Costa", "raceName": "Acalanes Union High School District Governing Board", "raceDescription": "Top two candidates win seat.", "raceReadTheStory": "", "raceType": "top2", "timeUpdated": "7:39 PM", "dateUpdated": "Dec 3, 2024", "totalVotes": 94219, "candidates": [ { "candidateName": "Andrew Fontan", "candidateIncumbent": false, "candidateParty": "", "voteCount": 11782 }, { "candidateName": "Sibyl Minighini", "candidateIncumbent": false, "candidateParty": "", "voteCount": 10578 }, { "candidateName": "Wendy Reicher", "candidateIncumbent": true, "candidateParty": "", "voteCount": 28513 }, { "candidateName": "Paul Chopra", "candidateIncumbent": false, "candidateParty": "", "voteCount": 23698 }, { "candidateName": "Peter Catalano", "candidateIncumbent": false, "candidateParty": "", "voteCount": 4987 }, { "candidateName": "Stacey Schweppe", "candidateIncumbent": false, "candidateParty": "", "voteCount": 14661 } ] }, "CCAntiochUnifiedSchoolDistrictGoverningBoardArea3": { "id": "CCAntiochUnifiedSchoolDistrictGoverningBoardArea3", "type": "localRace", "location": "Contra Costa", "raceName": "Antioch Unified School District Governing Board, Area 3", "raceDescription": "Top candidate wins seat.", "raceReadTheStory": "", "raceType": "top1", "timeUpdated": "7:39 PM", "dateUpdated": "Dec 3, 2024", "totalVotes": 9022, "candidates": [ { "candidateName": "Scott Bergerhouse", "candidateIncumbent": false, "candidateParty": "", "voteCount": 4191 }, { "candidateName": "Dee Brown", "candidateIncumbent": false, "candidateParty": "", "voteCount": 4831 } ] }, "CCAntiochUnifiedSchoolDistrictGoverningBoardArea4": { "id": "CCAntiochUnifiedSchoolDistrictGoverningBoardArea4", "type": "localRace", "location": "Contra Costa", "raceName": "Antioch Unified School District Governing Board, Area 4", "raceDescription": "Top candidate wins seat.", "raceReadTheStory": "", "raceType": "top1", "timeUpdated": "7:39 PM", "dateUpdated": "Dec 3, 2024", "totalVotes": 7986, "candidates": [ { "candidateName": "Gary Hack", "candidateIncumbent": true, "candidateParty": "", "voteCount": 3157 }, { "candidateName": "Olga Cobos-Smith", "candidateIncumbent": false, "candidateParty": "", "voteCount": 4829 } ] }, "CCLivermoreValleyJointUnifiedSchoolDistrictGoverningBoard": { "id": "CCLivermoreValleyJointUnifiedSchoolDistrictGoverningBoard", "type": "localRace", "location": "Contra Costa", "raceName": "Livermore Valley Joint Unified School District Governing Board", "raceDescription": "Top two candidates win seat. Includes votes from Contra Costa and Alameda counties.", "raceReadTheStory": "", "raceType": "top2", "timeUpdated": "7:39 PM", "dateUpdated": "Dec 3, 2024", "totalVotes": 65867, "candidates": [ { "candidateName": "Maggie Tufts", "candidateIncumbent": false, "candidateParty": "", "voteCount": 14895 }, { "candidateName": "Amanda Pepper", "candidateIncumbent": false, "candidateParty": "", "voteCount": 4177 }, { "candidateName": "Jean Paulsen", "candidateIncumbent": false, "candidateParty": "", "voteCount": 2536 }, { "candidateName": "Tara Boyce", "candidateIncumbent": false, "candidateParty": "", "voteCount": 13219 }, { "candidateName": "Christiaan Vandenheuvel", "candidateIncumbent": false, "candidateParty": "", "voteCount": 15223 }, { "candidateName": "Deena Kaplanis", "candidateIncumbent": false, "candidateParty": "", "voteCount": 15817 } ] }, "CCMartinezUnifiedSchoolDistrictGoverningBoardArea1": { "id": "CCMartinezUnifiedSchoolDistrictGoverningBoardArea1", "type": "localRace", "location": "Contra Costa", "raceName": "Martinez Unified School District Governing Board, Area 1", "raceDescription": "Top candidate wins seat.", "raceReadTheStory": "", "raceType": "top1", "timeUpdated": "7:39 PM", "dateUpdated": "Dec 3, 2024", "totalVotes": 2828, "candidates": [ { "candidateName": "Carlos M. 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"localRace", "location": "Contra Costa", "raceName": "San Ramon Valley Unified School District Governing Board, Area 2", "raceDescription": "Top candidate wins seat.", "raceReadTheStory": "", "raceType": "top1", "timeUpdated": "7:39 PM", "dateUpdated": "Dec 3, 2024", "totalVotes": 18704, "candidates": [ { "candidateName": "Shelley Clark", "candidateIncumbent": true, "candidateParty": "", "voteCount": 11076 }, { "candidateName": "Karin Shumway", "candidateIncumbent": false, "candidateParty": "", "voteCount": 7628 } ] }, "CCSanRamonValleyUnifiedSchoolDistrictGoverningBoardArea3": { "id": "CCSanRamonValleyUnifiedSchoolDistrictGoverningBoardArea3", "type": "localRace", "location": "Contra Costa", "raceName": "San Ramon Valley Unified School District Governing Board, Area 3", "raceDescription": "Top candidate wins seat.", "raceReadTheStory": "", "raceType": "top1", "timeUpdated": "7:39 PM", "dateUpdated": "Dec 3, 2024", "totalVotes": 11834, "candidates": [ { "candidateName": "Laura Bratt", "candidateIncumbent": true, "candidateParty": "", "voteCount": 6062 }, { "candidateName": "Sukriti Sehgal", "candidateIncumbent": false, "candidateParty": "", "voteCount": 5772 } ] }, "CCWestContraCostaUnifiedSchoolDistrictGoverningBoardArea2": { "id": "CCWestContraCostaUnifiedSchoolDistrictGoverningBoardArea2", "type": "localRace", "location": "Contra Costa", "raceName": "West Contra Costa Unified School District Governing Board, Area 2", "raceDescription": "Top candidate wins seat.", "raceReadTheStory": "", "raceType": "top1", "timeUpdated": "7:39 PM", "dateUpdated": "Dec 3, 2024", "totalVotes": 12451, "candidates": [ { "candidateName": "Guadalupe Enllana", "candidateIncumbent": false, "candidateParty": "", "voteCount": 6810 }, { "candidateName": "Otheree AK Christian", "candidateIncumbent": true, "candidateParty": "", "voteCount": 5641 } ] }, "CCMoragaSchoolDistrictGoverningBoard": { "id": "CCMoragaSchoolDistrictGoverningBoard", "type": "localRace", "location": "Contra Costa", "raceName": "Moraga School District Governing Board", "raceDescription": "Top two candidates win seat.", "raceReadTheStory": "", "raceType": "top2", "timeUpdated": "7:39 PM", "dateUpdated": "Dec 3, 2024", "totalVotes": 12812, "candidates": [ { "candidateName": "Lee Hays", "candidateIncumbent": false, "candidateParty": "", "voteCount": 4417 }, { "candidateName": "Gian Panetta", "candidateIncumbent": false, "candidateParty": "", "voteCount": 2959 }, { "candidateName": "Stephanie Dickerson", "candidateIncumbent": false, "candidateParty": "", "voteCount": 5436 } ] }, "CCBoardofSupervisorsDistrict5": { "id": "CCBoardofSupervisorsDistrict5", "type": "localRace", "location": "Contra Costa", "raceName": "Board of Supervisors, District 5", "raceDescription": "Top candidate wins seat.", "raceReadTheStory": "https://www.kqed.org/voterguide/contracosta/races#supervisor-5th-district", "raceType": "top1", "timeUpdated": "7:39 PM", "dateUpdated": "Dec 3, 2024", "totalVotes": 79213, "candidates": [ { "candidateName": "Mike Barbanica", "candidateIncumbent": false, "candidateParty": "", "voteCount": 37896 }, { "candidateName": "Shanelle Scales-Preston", "candidateIncumbent": false, "candidateParty": "", "voteCount": 41317 } ] }, "CCAntiochMayor": { "id": "CCAntiochMayor", "type": "localRace", "location": "Contra Costa", "raceName": "Antioch Mayor", "raceDescription": "Top candidate wins seat.", "raceReadTheStory": "", "raceType": "top1", "timeUpdated": "7:39 PM", "dateUpdated": "Dec 3, 2024", "totalVotes": 41615, "candidates": [ { "candidateName": "Lamar Hernández-Thorpe", "candidateIncumbent": true, "candidateParty": "", "voteCount": 12783 }, { "candidateName": "Rakesh Christian", "candidateIncumbent": false, "candidateParty": "", "voteCount": 3041 }, { "candidateName": "Ron Bernal", "candidateIncumbent": false, "candidateParty": "", "voteCount": 25791 } ] }, "CCAntiochCityCouncilDistrict2": { "id": "CCAntiochCityCouncilDistrict2", "type": "localRace", "location": "Contra Costa", 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Passes with majority vote.", "raceReadTheStory": "", "raceType": "yesNo", "timeUpdated": "7:55 PM", "dateUpdated": "Dec 3, 2024", "totalVotes": 369575, "candidates": [ { "candidateName": "Yes", "candidateIncumbent": false, "candidateParty": "", "voteCount": 210375 }, { "candidateName": "No", "candidateIncumbent": false, "candidateParty": "", "voteCount": 159200 } ] }, "SFMeasureM": { "id": "SFMeasureM", "type": "localRace", "location": "San Francisco", "raceName": "Measure M", "raceDescription": "San Francisco. Business tax. Passes with majority vote.", "raceReadTheStory": "", "raceType": "yesNo", "timeUpdated": "7:55 PM", "dateUpdated": "Dec 3, 2024", "totalVotes": 342310, "candidates": [ { "candidateName": "Yes", "candidateIncumbent": false, "candidateParty": "", "voteCount": 237930 }, { "candidateName": "No", "candidateIncumbent": false, "candidateParty": "", "voteCount": 104380 } ] }, "SFMeasureN": { "id": "SFMeasureN", "type": "localRace", "location": "San Francisco", "raceName": "Measure N", "raceDescription": "San Francisco. Student loan reimbursement. Passes with majority vote.", "raceReadTheStory": "", "raceType": "yesNo", "timeUpdated": "7:55 PM", "dateUpdated": "Dec 3, 2024", "totalVotes": 363432, "candidates": [ { "candidateName": "Yes", "candidateIncumbent": false, "candidateParty": "", "voteCount": 187979 }, { "candidateName": "No", "candidateIncumbent": false, "candidateParty": "", "voteCount": 175453 } ] }, "SFMeasureO": { "id": "SFMeasureO", "type": "localRace", "location": "San Francisco", "raceName": "Measure O", "raceDescription": "San Francisco. Reproductive rights. Passes with majority vote.", "raceReadTheStory": "", "raceType": "yesNo", "timeUpdated": "7:55 PM", "dateUpdated": "Dec 3, 2024", "totalVotes": 373249, "candidates": [ { "candidateName": "Yes", "candidateIncumbent": false, "candidateParty": "", "voteCount": 312914 }, { "candidateName": "No", "candidateIncumbent": false, "candidateParty": "", "voteCount": 60335 } ] }, "SFMayorRound1": { "id": "SFMayorRound1", "type": "localRace", "location": "San Francisco", "raceName": "San Francisco Mayor Round 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": "7:55 PM", "dateUpdated": "Dec 3, 2024", "totalVotes": 390180, "candidates": [ { "candidateName": "London Breed", "candidateIncumbent": false, "candidateParty": "", "voteCount": 95117 }, { "candidateName": "Mark Farrell", "candidateIncumbent": false, "candidateParty": "", "voteCount": 72115 }, { "candidateName": "Henry Flynn", "candidateIncumbent": false, "candidateParty": "", "voteCount": 1319 }, { "candidateName": "Keith Freedman", "candidateIncumbent": false, "candidateParty": "", "voteCount": 2079 }, { "candidateName": "Dylan Hirsch-Shell", "candidateIncumbent": false, "candidateParty": "", "voteCount": 2897 }, { "candidateName": "Daniel Lurie", "candidateIncumbent": false, "candidateParty": "", "voteCount": 102720 }, { "candidateName": "Nelson Mei", "candidateIncumbent": false, "candidateParty": "", "voteCount": 1791 }, { "candidateName": "Aaron Peskin", "candidateIncumbent": false, "candidateParty": "", "voteCount": 89215 }, { "candidateName": "Paul Robertson", "candidateIncumbent": false, "candidateParty": "", "voteCount": 812 }, { "candidateName": "Ahsha Safai", "candidateIncumbent": false, "candidateParty": "", "voteCount": 11425 }, { "candidateName": "Shahram Shariati", "candidateIncumbent": false, "candidateParty": "", "voteCount": 1613 }, { "candidateName": "Jon Soderstrom", "candidateIncumbent": false, "candidateParty": "", "voteCount": 412 }, { "candidateName": "Ellen Zhou", "candidateIncumbent": false, "candidateParty": "", "voteCount": 8665 } ] }, "SFMayorRound3": { "id": "SFMayorRound3", "type": "localRace", "location": "San Francisco", "raceName": "San Francisco Mayor 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": 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. 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