KQED’s Arts & Culture desk brings daily, in-depth cultural commentary and coverage of the Bay Area with a mission to enrich lives and inspire participation. Who We Are
A Rare Ian Fleming Story Just Published, 70 Years After It Was Written
The popular James Bond author’s story concerns a run-in between a literary editor and his intimidating boss.
At the Indie Auxperience, Musicians Find New Ways to Be Heard
Linking up in person never gets old — just ask the musicians at this monthly mixer and open mic.
6 Scenic Bay Area Meals That Are Worth the Drive
Prime rib plates, breakfast burritos and fried artichokes — without the ‘view tax.’
6 Exceedingly Strange Bay Area Walking Tours
From Pescadero to Vallejo’s Mare Island, these tours are packed with Bay Area history and other delights.
‘Hurry Up Tomorrow’ Will Make You Want to Skip The Weeknd
In his surreal new movie, the charismatic performer plays an unempathetic protagonist in a nonlinear and nonsensical world.
10 of the Best Jazz Shows in the Bay Area This Summer
A new street festival, international touring acts and local favorites round out a syncopated summer.
Get Away From the News This Summer With These 7 Bay Area Diversions
Life Pro Tip: You can't doomscroll if you're sewing, gardening or DJing.
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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"content": "\u003cfigure id=\"attachment_13976340\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13976340\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/sea-ranch-cafe.jpg\" alt=\"Cappuccino in a white cup on a wood table. The view outside the window is of a grassy cliff and, beyond that, a blue sky and sea.\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/sea-ranch-cafe.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/sea-ranch-cafe-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/sea-ranch-cafe-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/sea-ranch-cafe-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/sea-ranch-cafe-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/sea-ranch-cafe-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/sea-ranch-cafe-1920x1440.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">View from the Cafe at the Sea Ranch Lodge. \u003ccite>(Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003ci>Be sure to check out our full \u003ca href=\"https://www.kqed.org/arts/tag/summer-guide-2025\">2025 Summer Arts Guide to live music, movies, art, theater, festivals and more\u003c/a> in the Bay Area.\u003c/i>\u003c/b>\u003c/p>\n\u003cp>I like a swanky view of the ocean (or river or mountaintop) with my dinner as much as the next person. The problem is that, more often than not, those top-floor, waterfront restaurants want to charge you an unspoken “view tax” for the privilege of enjoying the scenery. That’s how you end up dropping $200 for a mediocre meal that would cost you less than half as much at a normal restaurant where the main focus is the \u003ca href=\"https://www.kqed.org/arts/tag/food\">food\u003c/a>. And it’s why I’ve pretty much stopped eating anywhere remotely fancy when road-tripping in unfamiliar areas.\u003c/p>\n\u003cp>Luckily, the Bay Area is home to plenty of \u003ci>non\u003c/i>-fancy restaurants that still offer million-dollar views, and even a handful of fancy-view restaurants that wind up being worth the price. Here are a few of my favorites.\u003c/p>\n\u003ch2>The Cafe at the Sea Ranch Lodge\u003c/h2>\n\u003cp>\u003cem>60 Sea Walk Dr., Sea Ranch\u003c/em>\u003c/p>\n\u003cp>Tucked away on the prettiest stretch of the Sonoma coast, the \u003ca href=\"https://www.thesearanchlodge.com/\">Sea Ranch Lodge\u003c/a> is a marvel of \u003ca href=\"https://www.kqed.org/arts/13957530/barbara-stauffacher-solomon-supergraphics-obituary\">colorful supergraphics\u003c/a> and \u003ca href=\"https://www.dwell.com/article/sea-ranch-architecture-7f30ea15\">minimalist architecture\u003c/a> inspired by the local terrain. Even if you can’t afford to plop down $600 or $700 to actually \u003ca href=\"https://www.thesearanchlodge.com/lodging/\">stay the night\u003c/a> at the lodge itself, tromping around the rolling hills and cliffs out back makes for a fantastic day trip. My suggestion? Start the day at the Lodge’s casual cafe, where you can enjoy a picture-perfect cappuccino and a crisp-griddled, Crunchwrap-like “Break-a-dilla,” which comes stuffed with scrambled eggs, queso fresco and (optional) bacon. Whether you sit in front of the big picture windows or on the deck outside, the panoramic views of that coastline can’t be beat.\u003c/p>\n\u003cfigure id=\"attachment_13976330\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13976330\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/shadowbrook-prime-rib.jpg\" alt=\"Prime rib cooked quite pink and rare on a white place with mashed potatoes and creamed spinach.\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/shadowbrook-prime-rib.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/shadowbrook-prime-rib-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/shadowbrook-prime-rib-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/shadowbrook-prime-rib-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/shadowbrook-prime-rib-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/shadowbrook-prime-rib-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/shadowbrook-prime-rib-1920x1440.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The prime rib plate at Shadowbrook. \u003ccite>(Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Shadowbrook\u003c/h2>\n\u003cp>\u003cem>1750 Wharf Rd., Capitola\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This sprawling, 78-year-old ski chalet–style restaurant serves reasonably tasty American and Italian American classics that feel like a time warp to the 1950s or ’60s — pretty good chicken parm and prime rib (pro tip: ask for extra jus), and a truly excellent appetizer of fried baby artichokes. In truth, Shadowbrook is more famous for everything else \u003ci>besides \u003c/i>the food: the quaint vintage taxicab shuttle for guests staying at nearby hotels; the old-timey service; and, especially, the picturesque funicular (or “hillavator”) ride to the restaurant itself, which sits at the bottom of a hill. That isn’t a bad thing: This is the kind of restaurant where the whole experience adds up to more than the sum of its parts, especially once you factor in the exquisite views — the cypress trees up above, and Soquel Creek and the rest of Capitola down below.\u003c/p>\n\u003cfigure id=\"attachment_13976334\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13976334\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/barbaras-fish-and-chips.jpg\" alt=\"Fish and chips on a plate with a lemon wedge.\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/barbaras-fish-and-chips.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/barbaras-fish-and-chips-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/barbaras-fish-and-chips-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/barbaras-fish-and-chips-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/barbaras-fish-and-chips-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/barbaras-fish-and-chips-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/barbaras-fish-and-chips-1920x1440.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Fish and chips at Barbara’s Fishtrap in Half Moon Bay. \u003ccite>(Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Barbara’s Fishtrap\u003c/h2>\n\u003cp>\u003cem>281 Capistrano Rd., Half Moon Bay\u003c/em>\u003c/p>\n\u003cp>Maybe the best of the dozens of little seafood shacks that you’ll find up and down California’s “Slow Coast” region, Barbara’s sits on a quiet, relatively uncrowded beach and serves up some of the tastiest, most impeccably fried fish and chips I’ve had in the Bay. I’ll also recommend ordering yet another version of fried artichoke hearts (a particular specialty of this southern stretch of the Bay). Barbara’s juicy, piping-hot version has the airiest tempura batter and is delicious dipped in ranch dressing — a combination made only more delightful if you time your meal to coincide with a classic California beach sunset.\u003c/p>\n\u003cfigure id=\"attachment_13976338\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13976338\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/pacific-lighthouse-bbq.jpg\" alt=\"Crispy-skinned roast pork belly on a table in front of a window showing views of yachts in the marina.\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/pacific-lighthouse-bbq.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/pacific-lighthouse-bbq-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/pacific-lighthouse-bbq-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/pacific-lighthouse-bbq-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/pacific-lighthouse-bbq-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/pacific-lighthouse-bbq-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/pacific-lighthouse-bbq-1920x1440.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Yacht views and Cantonese-style barbecue at Pacific Lighthouse. \u003ccite>(Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Pacific Lighthouse\u003c/h2>\n\u003cp>\u003cem>1051 Pacific Marina, Alameda\u003c/em>\u003c/p>\n\u003cp>From its vantage point right on the marina in Alameda, Pacific Lighthouse might boast the best waterfront views of any dim sum restaurant in the Bay — certainly among those whose dim sum is actually worth eating. They don’t do cart dim sum here, but the paper checkbox menu offers a surprisingly robust mix of classics and more creative, contemporary dishes. My favorites: the crunchy-skinned barbecue pork belly; the crisp-topped “French”-style baked pork buns; and the wonderfully eggy, sugar-dusted doughnuts. The service and self-seating system are both a bit of a free-for-all, so I’ve found the best approach is to show up right when the restaurant opens at 10:30 a.m. and send the fastest, most decisive walker in your group to snag one of the tables by the back windows, with their view of the yachts on the water.\u003c/p>\n\u003cfigure id=\"attachment_13976333\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13976333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/warehouse-cafe-prime-rib-2.jpg\" alt=\"Overhead view of a bloody-centered slab of prime rib and a foil-wrapped baked potato.\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/warehouse-cafe-prime-rib-2.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/warehouse-cafe-prime-rib-2-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/warehouse-cafe-prime-rib-2-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/warehouse-cafe-prime-rib-2-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/warehouse-cafe-prime-rib-2-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/warehouse-cafe-prime-rib-2-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/warehouse-cafe-prime-rib-2-1920x1440.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Warehouse Cafe’s prime rib plate, served at one of the bar’s outdoor patio tables. \u003ccite>(Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13976332\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13976332\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/warehouse-cafe-view.jpg\" alt=\"View of a sunset over the waterfront, from the other side of a chain link fence.\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/warehouse-cafe-view.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/warehouse-cafe-view-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/warehouse-cafe-view-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/warehouse-cafe-view-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/warehouse-cafe-view-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/warehouse-cafe-view-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/warehouse-cafe-view-1920x1440.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Sunset view from the parking lot. \u003ccite>(Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Warehouse Cafe\u003c/h2>\n\u003cp>\u003cem>5 Canyon Lake Dr., Port Costa\u003c/em>\u003c/p>\n\u003cp>Warehouse Cafe is a legendary East Bay biker bar, beloved by locals for its taxidermy-themed decor; no-nonsense bartenders; gruff, mammoth beer selection; and occasionally rowdy clientele. Food lovers mostly know the place for its Friday and Saturday night prime rib special — a big ol’ slab of beef served with a baked potato, garlicky mushrooms and all the fixins. The plate used to be one of the \u003ca href=\"https://sf.eater.com/2020/10/19/21519931/warehouse-cafe-port-costa-biker-bar-prime-rib-pandemic\">best deals in the entire Bay Area\u003c/a>, and it’s still worth seeking out even now that the price has spiked to a still-fairly-reasonable $45 (cash only). As far as scenery goes, the bar’s patio does overlook the Carquinez Strait shoreline, but the best view comes at the end of a nighttime drive up the long, winding country road that spills out into downtown Port Costa proper: a \u003ca href=\"https://www.kqed.org/news/12002191/for-a-taste-of-the-old-west-head-to-this-tiny-bay-area-town\">ghostly\u003c/a> vision of old-timey saloons and rickety Victorians, all lit up by twinkly string lights. It’s enough to take your breath away. Note: The Warehouse’s prime rib special starts at 6 p.m. on Fridays and 5 p.m. on Saturdays.\u003c/p>\n\u003cfigure id=\"attachment_13976331\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13976331\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/wild-flour-bread.jpg\" alt=\"Chalkboard menu for Wild Flour Bread, with a colorful hand-drawn tree. \" width=\"2000\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/wild-flour-bread.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/wild-flour-bread-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/wild-flour-bread-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/wild-flour-bread-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/wild-flour-bread-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/wild-flour-bread-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/wild-flour-bread-1920x1920.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The chalkboard menu at Wild Flour Bread in Sonoma County. \u003ccite>(Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Wild Flour Bread\u003c/h2>\n\u003cp>\u003cem>140 Bohemian Hwy., Freestone\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Every scenic restaurant roundup (this one included) seems to skew toward waterfront vistas, but sometimes a wild garden view provides most inspiring view — especially when it comes with a side of tasty baked goods. A popular pit stop for daytrippers heading out to the Russian River Valley, Wild Flour Bread has mostly operated as a takeout window since the start of COVID. But the best seats in the house have always been the adirondack chairs in the garden out back, among the daisies, nasturtiums and trellises of fruit-laden tomato plants. It’s the perfect setting to enjoy a coffee, a craggy scone and a dense, crusty loaf of one of Wild Flour’s famous cheese fougasses.\u003c/p>\n\n",
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"title": "The Best Scenic Bay Area Meals That Are Worth the Drive | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13976340\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13976340\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/sea-ranch-cafe.jpg\" alt=\"Cappuccino in a white cup on a wood table. The view outside the window is of a grassy cliff and, beyond that, a blue sky and sea.\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/sea-ranch-cafe.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/sea-ranch-cafe-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/sea-ranch-cafe-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/sea-ranch-cafe-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/sea-ranch-cafe-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/sea-ranch-cafe-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/sea-ranch-cafe-1920x1440.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">View from the Cafe at the Sea Ranch Lodge. \u003ccite>(Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003ci>Be sure to check out our full \u003ca href=\"https://www.kqed.org/arts/tag/summer-guide-2025\">2025 Summer Arts Guide to live music, movies, art, theater, festivals and more\u003c/a> in the Bay Area.\u003c/i>\u003c/b>\u003c/p>\n\u003cp>I like a swanky view of the ocean (or river or mountaintop) with my dinner as much as the next person. The problem is that, more often than not, those top-floor, waterfront restaurants want to charge you an unspoken “view tax” for the privilege of enjoying the scenery. That’s how you end up dropping $200 for a mediocre meal that would cost you less than half as much at a normal restaurant where the main focus is the \u003ca href=\"https://www.kqed.org/arts/tag/food\">food\u003c/a>. And it’s why I’ve pretty much stopped eating anywhere remotely fancy when road-tripping in unfamiliar areas.\u003c/p>\n\u003cp>Luckily, the Bay Area is home to plenty of \u003ci>non\u003c/i>-fancy restaurants that still offer million-dollar views, and even a handful of fancy-view restaurants that wind up being worth the price. Here are a few of my favorites.\u003c/p>\n\u003ch2>The Cafe at the Sea Ranch Lodge\u003c/h2>\n\u003cp>\u003cem>60 Sea Walk Dr., Sea Ranch\u003c/em>\u003c/p>\n\u003cp>Tucked away on the prettiest stretch of the Sonoma coast, the \u003ca href=\"https://www.thesearanchlodge.com/\">Sea Ranch Lodge\u003c/a> is a marvel of \u003ca href=\"https://www.kqed.org/arts/13957530/barbara-stauffacher-solomon-supergraphics-obituary\">colorful supergraphics\u003c/a> and \u003ca href=\"https://www.dwell.com/article/sea-ranch-architecture-7f30ea15\">minimalist architecture\u003c/a> inspired by the local terrain. Even if you can’t afford to plop down $600 or $700 to actually \u003ca href=\"https://www.thesearanchlodge.com/lodging/\">stay the night\u003c/a> at the lodge itself, tromping around the rolling hills and cliffs out back makes for a fantastic day trip. My suggestion? Start the day at the Lodge’s casual cafe, where you can enjoy a picture-perfect cappuccino and a crisp-griddled, Crunchwrap-like “Break-a-dilla,” which comes stuffed with scrambled eggs, queso fresco and (optional) bacon. Whether you sit in front of the big picture windows or on the deck outside, the panoramic views of that coastline can’t be beat.\u003c/p>\n\u003cfigure id=\"attachment_13976330\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13976330\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/shadowbrook-prime-rib.jpg\" alt=\"Prime rib cooked quite pink and rare on a white place with mashed potatoes and creamed spinach.\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/shadowbrook-prime-rib.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/shadowbrook-prime-rib-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/shadowbrook-prime-rib-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/shadowbrook-prime-rib-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/shadowbrook-prime-rib-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/shadowbrook-prime-rib-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/shadowbrook-prime-rib-1920x1440.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The prime rib plate at Shadowbrook. \u003ccite>(Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Shadowbrook\u003c/h2>\n\u003cp>\u003cem>1750 Wharf Rd., Capitola\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This sprawling, 78-year-old ski chalet–style restaurant serves reasonably tasty American and Italian American classics that feel like a time warp to the 1950s or ’60s — pretty good chicken parm and prime rib (pro tip: ask for extra jus), and a truly excellent appetizer of fried baby artichokes. In truth, Shadowbrook is more famous for everything else \u003ci>besides \u003c/i>the food: the quaint vintage taxicab shuttle for guests staying at nearby hotels; the old-timey service; and, especially, the picturesque funicular (or “hillavator”) ride to the restaurant itself, which sits at the bottom of a hill. That isn’t a bad thing: This is the kind of restaurant where the whole experience adds up to more than the sum of its parts, especially once you factor in the exquisite views — the cypress trees up above, and Soquel Creek and the rest of Capitola down below.\u003c/p>\n\u003cfigure id=\"attachment_13976334\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13976334\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/barbaras-fish-and-chips.jpg\" alt=\"Fish and chips on a plate with a lemon wedge.\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/barbaras-fish-and-chips.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/barbaras-fish-and-chips-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/barbaras-fish-and-chips-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/barbaras-fish-and-chips-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/barbaras-fish-and-chips-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/barbaras-fish-and-chips-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/barbaras-fish-and-chips-1920x1440.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Fish and chips at Barbara’s Fishtrap in Half Moon Bay. \u003ccite>(Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Barbara’s Fishtrap\u003c/h2>\n\u003cp>\u003cem>281 Capistrano Rd., Half Moon Bay\u003c/em>\u003c/p>\n\u003cp>Maybe the best of the dozens of little seafood shacks that you’ll find up and down California’s “Slow Coast” region, Barbara’s sits on a quiet, relatively uncrowded beach and serves up some of the tastiest, most impeccably fried fish and chips I’ve had in the Bay. I’ll also recommend ordering yet another version of fried artichoke hearts (a particular specialty of this southern stretch of the Bay). Barbara’s juicy, piping-hot version has the airiest tempura batter and is delicious dipped in ranch dressing — a combination made only more delightful if you time your meal to coincide with a classic California beach sunset.\u003c/p>\n\u003cfigure id=\"attachment_13976338\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13976338\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/pacific-lighthouse-bbq.jpg\" alt=\"Crispy-skinned roast pork belly on a table in front of a window showing views of yachts in the marina.\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/pacific-lighthouse-bbq.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/pacific-lighthouse-bbq-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/pacific-lighthouse-bbq-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/pacific-lighthouse-bbq-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/pacific-lighthouse-bbq-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/pacific-lighthouse-bbq-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/pacific-lighthouse-bbq-1920x1440.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Yacht views and Cantonese-style barbecue at Pacific Lighthouse. \u003ccite>(Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Pacific Lighthouse\u003c/h2>\n\u003cp>\u003cem>1051 Pacific Marina, Alameda\u003c/em>\u003c/p>\n\u003cp>From its vantage point right on the marina in Alameda, Pacific Lighthouse might boast the best waterfront views of any dim sum restaurant in the Bay — certainly among those whose dim sum is actually worth eating. They don’t do cart dim sum here, but the paper checkbox menu offers a surprisingly robust mix of classics and more creative, contemporary dishes. My favorites: the crunchy-skinned barbecue pork belly; the crisp-topped “French”-style baked pork buns; and the wonderfully eggy, sugar-dusted doughnuts. The service and self-seating system are both a bit of a free-for-all, so I’ve found the best approach is to show up right when the restaurant opens at 10:30 a.m. and send the fastest, most decisive walker in your group to snag one of the tables by the back windows, with their view of the yachts on the water.\u003c/p>\n\u003cfigure id=\"attachment_13976333\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13976333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/warehouse-cafe-prime-rib-2.jpg\" alt=\"Overhead view of a bloody-centered slab of prime rib and a foil-wrapped baked potato.\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/warehouse-cafe-prime-rib-2.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/warehouse-cafe-prime-rib-2-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/warehouse-cafe-prime-rib-2-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/warehouse-cafe-prime-rib-2-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/warehouse-cafe-prime-rib-2-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/warehouse-cafe-prime-rib-2-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/warehouse-cafe-prime-rib-2-1920x1440.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Warehouse Cafe’s prime rib plate, served at one of the bar’s outdoor patio tables. \u003ccite>(Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13976332\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13976332\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/warehouse-cafe-view.jpg\" alt=\"View of a sunset over the waterfront, from the other side of a chain link fence.\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/warehouse-cafe-view.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/warehouse-cafe-view-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/warehouse-cafe-view-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/warehouse-cafe-view-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/warehouse-cafe-view-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/warehouse-cafe-view-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/warehouse-cafe-view-1920x1440.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Sunset view from the parking lot. \u003ccite>(Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Warehouse Cafe\u003c/h2>\n\u003cp>\u003cem>5 Canyon Lake Dr., Port Costa\u003c/em>\u003c/p>\n\u003cp>Warehouse Cafe is a legendary East Bay biker bar, beloved by locals for its taxidermy-themed decor; no-nonsense bartenders; gruff, mammoth beer selection; and occasionally rowdy clientele. Food lovers mostly know the place for its Friday and Saturday night prime rib special — a big ol’ slab of beef served with a baked potato, garlicky mushrooms and all the fixins. The plate used to be one of the \u003ca href=\"https://sf.eater.com/2020/10/19/21519931/warehouse-cafe-port-costa-biker-bar-prime-rib-pandemic\">best deals in the entire Bay Area\u003c/a>, and it’s still worth seeking out even now that the price has spiked to a still-fairly-reasonable $45 (cash only). As far as scenery goes, the bar’s patio does overlook the Carquinez Strait shoreline, but the best view comes at the end of a nighttime drive up the long, winding country road that spills out into downtown Port Costa proper: a \u003ca href=\"https://www.kqed.org/news/12002191/for-a-taste-of-the-old-west-head-to-this-tiny-bay-area-town\">ghostly\u003c/a> vision of old-timey saloons and rickety Victorians, all lit up by twinkly string lights. It’s enough to take your breath away. Note: The Warehouse’s prime rib special starts at 6 p.m. on Fridays and 5 p.m. on Saturdays.\u003c/p>\n\u003cfigure id=\"attachment_13976331\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13976331\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/wild-flour-bread.jpg\" alt=\"Chalkboard menu for Wild Flour Bread, with a colorful hand-drawn tree. \" width=\"2000\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/wild-flour-bread.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/wild-flour-bread-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/wild-flour-bread-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/wild-flour-bread-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/wild-flour-bread-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/wild-flour-bread-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/wild-flour-bread-1920x1920.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The chalkboard menu at Wild Flour Bread in Sonoma County. \u003ccite>(Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Wild Flour Bread\u003c/h2>\n\u003cp>\u003cem>140 Bohemian Hwy., Freestone\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Every scenic restaurant roundup (this one included) seems to skew toward waterfront vistas, but sometimes a wild garden view provides most inspiring view — especially when it comes with a side of tasty baked goods. A popular pit stop for daytrippers heading out to the Russian River Valley, Wild Flour Bread has mostly operated as a takeout window since the start of COVID. But the best seats in the house have always been the adirondack chairs in the garden out back, among the daisies, nasturtiums and trellises of fruit-laden tomato plants. It’s the perfect setting to enjoy a coffee, a craggy scone and a dense, crusty loaf of one of Wild Flour’s famous cheese fougasses.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>James Bond\u003c/em> creator Ian Fleming didn’t need to write about Cold War intrigue to consider the ways people scheme against each other. “The Shameful Dream,” a rare Fleming work published this week, is a short story about a Londoner named Bone, Caffery Bone.\u003c/p>\n\u003cp>Fleming’s protagonist is the literary editor of \u003cem>Our World\u003c/em>, a periodical “designed to bring power and social advancement to Lord Ower,” its owner. Bone has been summoned to spend Saturday evening with Lord and Lady Ower, transported to them in a chauffeur-driven Rolls-Royce. Bone suspects, with a feeling of “inevitable doom,” that he is to meet the same fate of so many employed by Lord Ower — removed from his job and soon forgotten.\u003c/p>\n\u003cp>[aside postid='arts_13904248']“For Lord Ower sacked everyone sooner or later, harshly if they belonged to no union or with a fat check if they did and were in a position to hit back,” Fleming writes. “If one worked for Lord Ower one was expendable and one just spent oneself until one had gone over the cliff edge and disappeared beneath the waves with a fat splash.”\u003c/p>\n\u003cp>“The Shameful Dream” appears in this week’s \u003cem>Strand Magazine\u003c/em> along with another obscure work from a master of intrigue, Graham Greene’s “Reading at Night,” a brief ghost story in which the contents of a paperback anthology become frighteningly real. Greene scholars believe that the author of “Our Man in Havana,” “The End of the Affair” and other classics dashed off “Reading at Night” in the early 1960s when he found himself struggling to write a longer narrative.\u003c/p>\n\u003cp>\u003cem>Strand Magazine\u003c/em> is a quarterly publication that has run little-known works by F. Scott Fitzgerald, Ernest Hemingway and many others. Managing editor Andrew F. Gulli noted that the current issue was Strand’s 75th and that he “thought it would be interesting for fans to read stories by these two midcentury literary icons side by side — writers whose approaches to the genre were markedly distinct: Greene, with his moral ambiguity and spiritual tension; and Fleming, with his glamorous take on espionage.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Fleming, best known for such Bond thrillers as \u003cem>Dr. No\u003c/em> and \u003cem>From Russia with Love\u003c/em>, had a career in journalism spanning from the 1930s to the early 1960s, when he was well established as an author. For Reuters in the ’30s, he wrote obituaries, covered auto racing in Austria and a Stalin show trial in the Soviet Union. After World War II, he served as foreign manager for the Kemsley newspaper group, a subsidiary of \u003cem>The Sunday Times\u003c/em>. Fleming died of a heart attack in 1964, at age 56.\u003c/p>\n\u003cp>Mike VanBlaricum, president of the Ian Fleming Foundation, says that Fleming was clearly drawing upon his own background for “The Shameful Dream.” But biographers disagree over when Fleming wrote it. According to Nicholas Shakespeare’s \u003cem>Ian Fleming: The Complete Man\u003c/em>, Fleming worked on the story in the early 1950s, based Lord Ower on his boss, Lord Kemsley, and based Bone upon himself. Lord Ower is sometimes referred to as “O,” anticipating the spy chief “M” of the Bond novels.\u003c/p>\n\u003cp>[aside postid='arts_13976015']In \u003cem>James Bond: The Man and His World\u003c/em>, author Henry Chancellor theorizes that Fleming wrote the story in 1961, and may have been inspired by a dispute with \u003cem>Daily Express\u003c/em> owner Lord Beaverbrook over rights to a James Bond comic strip.\u003c/p>\n\u003cp>VanBlaricum speculates that Fleming wrote it in 1951, citing the author’s reference to a Sheerline saloon, a luxury car that the UK stopped producing in the mid-1950s.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It is unlikely that Fleming would have used a decade-old car if the story were written in 1961,” he says. “In either event, ‘The Shameful Dream’ was never published. It has been stated that Lord Ower too closely resembled Lord Kemsley.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>James Bond\u003c/em> creator Ian Fleming didn’t need to write about Cold War intrigue to consider the ways people scheme against each other. “The Shameful Dream,” a rare Fleming work published this week, is a short story about a Londoner named Bone, Caffery Bone.\u003c/p>\n\u003cp>Fleming’s protagonist is the literary editor of \u003cem>Our World\u003c/em>, a periodical “designed to bring power and social advancement to Lord Ower,” its owner. Bone has been summoned to spend Saturday evening with Lord and Lady Ower, transported to them in a chauffeur-driven Rolls-Royce. Bone suspects, with a feeling of “inevitable doom,” that he is to meet the same fate of so many employed by Lord Ower — removed from his job and soon forgotten.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“For Lord Ower sacked everyone sooner or later, harshly if they belonged to no union or with a fat check if they did and were in a position to hit back,” Fleming writes. “If one worked for Lord Ower one was expendable and one just spent oneself until one had gone over the cliff edge and disappeared beneath the waves with a fat splash.”\u003c/p>\n\u003cp>“The Shameful Dream” appears in this week’s \u003cem>Strand Magazine\u003c/em> along with another obscure work from a master of intrigue, Graham Greene’s “Reading at Night,” a brief ghost story in which the contents of a paperback anthology become frighteningly real. Greene scholars believe that the author of “Our Man in Havana,” “The End of the Affair” and other classics dashed off “Reading at Night” in the early 1960s when he found himself struggling to write a longer narrative.\u003c/p>\n\u003cp>\u003cem>Strand Magazine\u003c/em> is a quarterly publication that has run little-known works by F. Scott Fitzgerald, Ernest Hemingway and many others. Managing editor Andrew F. Gulli noted that the current issue was Strand’s 75th and that he “thought it would be interesting for fans to read stories by these two midcentury literary icons side by side — writers whose approaches to the genre were markedly distinct: Greene, with his moral ambiguity and spiritual tension; and Fleming, with his glamorous take on espionage.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Fleming, best known for such Bond thrillers as \u003cem>Dr. No\u003c/em> and \u003cem>From Russia with Love\u003c/em>, had a career in journalism spanning from the 1930s to the early 1960s, when he was well established as an author. For Reuters in the ’30s, he wrote obituaries, covered auto racing in Austria and a Stalin show trial in the Soviet Union. After World War II, he served as foreign manager for the Kemsley newspaper group, a subsidiary of \u003cem>The Sunday Times\u003c/em>. Fleming died of a heart attack in 1964, at age 56.\u003c/p>\n\u003cp>Mike VanBlaricum, president of the Ian Fleming Foundation, says that Fleming was clearly drawing upon his own background for “The Shameful Dream.” But biographers disagree over when Fleming wrote it. According to Nicholas Shakespeare’s \u003cem>Ian Fleming: The Complete Man\u003c/em>, Fleming worked on the story in the early 1950s, based Lord Ower on his boss, Lord Kemsley, and based Bone upon himself. Lord Ower is sometimes referred to as “O,” anticipating the spy chief “M” of the Bond novels.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In \u003cem>James Bond: The Man and His World\u003c/em>, author Henry Chancellor theorizes that Fleming wrote the story in 1961, and may have been inspired by a dispute with \u003cem>Daily Express\u003c/em> owner Lord Beaverbrook over rights to a James Bond comic strip.\u003c/p>\n\u003cp>VanBlaricum speculates that Fleming wrote it in 1951, citing the author’s reference to a Sheerline saloon, a luxury car that the UK stopped producing in the mid-1950s.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It is unlikely that Fleming would have used a decade-old car if the story were written in 1961,” he says. “In either event, ‘The Shameful Dream’ was never published. It has been stated that Lord Ower too closely resembled Lord Kemsley.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>We’re on the cusp of summertime here in the United States, and a few things are extremely clear: we know, now more than ever, “freedom of speech” isn’t free. Artists, musicians especially, \u003ca href=\"https://www.kqed.org/arts/13893952/musicians-demand-better-pay-at-spotify-headquarters-around-the-world\">struggle to finance themselves\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13973095/bay-beats-san-francisco-public-library-streaming-local-musicians\">find ways to be heard\u003c/a>. Meanwhile, we’re living through what the U.S. surgeon general \u003ca href=\"https://www.hhs.gov/sites/default/files/surgeon-general-social-connection-advisory.pdf\">recently called\u003c/a> a loneliness epidemic.\u003c/p>\n\u003cp>So last month when I pulled up to the Rich City Studios’ \u003ca href=\"https://bio.to/IndieAuxperience\">Indie Auxperience\u003c/a>, an industry mixer and talent showcase held on Treasure Island, I was relieved to see artists coming together, expressing themselves and creating ways to generate revenue.\u003c/p>\n\u003cp>I nodded along as \u003ca href=\"https://www.instagram.com/ladymafbarbiethic415/\">Lady Maf\u003c/a> spit bars from her song “\u003ca href=\"https://www.youtube.com/watch?v=qUXiIen0-No\">I Been Thuggin’\u003c/a>.” I talked about Bay Area fashion with \u003ca href=\"https://www.instagram.com/yaboyblackice/\">Ya Boy Black Ice\u003c/a>, an MC and owner of the clothing company \u003ca href=\"https://www.instagram.com/artifactsbytravlyrics\">Artifacts By Travlyrics\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13976365\" class=\"wp-caption aligncenter\" style=\"max-width: 1616px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13976365\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/dsc09784.jpg\" alt=\"A man poses for a photo while holding a pair of glasses toward the camera.\" width=\"1616\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/dsc09784.jpg 1616w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/dsc09784-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/dsc09784-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/dsc09784-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/dsc09784-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/dsc09784-1536x1027.jpg 1536w\" sizes=\"auto, (max-width: 1616px) 100vw, 1616px\">\u003cfigcaption class=\"wp-caption-text\">Ya Boy Black Ice holds a pair of glasses from his Artifacts By Travlyrics brand. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And then I took in a performance by \u003ca href=\"https://www.instagram.com/kaaylalynnmusic\">Kaayla Lynn\u003c/a>, a sultry R&B singer who did two songs, “\u003ca href=\"https://www.youtube.com/watch?v=9aL-nx95E6E\">Away\u003c/a>” and “\u003ca href=\"https://www.youtube.com/watch?v=JNgE5Lf_OwU\">Girl of Your Dreams\u003c/a>.”\u003c/p>\n\u003cp>A performing vocalist since her freshman year at college in Atlanta, Kaayla Lynn had taken a hiatus from her craft for the past few years. But on the heels of losing a loved one last spring, the East Bay-based singer and songwriter recommitted herself to her art in 2025.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>While working as an elementary school music teacher and raising a child doesn’t leave much time for performing, Kaayla Lynn finds ways to stay active. She sings in a choir and at karaoke spots. But she says it’s hard to get her original songs heard.\u003c/p>\n\u003cp>[aside postID='arts_13976039']So she signed up for the Indie Auxperience, choosing to hop on stage and sing her heart out for a crowd beside an amazing view of the San Francisco skyline.\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/richcitystudios/\">Rich City Studios\u003c/a> owner \u003ca href=\"https://www.instagram.com/chucktbeats/\">Charles “ChuckT” Turner\u003c/a> created the Indie Auxperience to offer artists more than just a stage and an audience.\u003c/p>\n\u003cp>“At many open mics,” he says via phone, “you’re performing in front of other artists who are just trying to get their stuff off.”\u003c/p>\n\u003cfigure id=\"attachment_13976364\" class=\"wp-caption aligncenter\" style=\"max-width: 1616px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13976364\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/dsc09800.jpg\" alt=\"A man in a red dress shirt stands and poses for a photo.\" width=\"1616\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/dsc09800.jpg 1616w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/dsc09800-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/dsc09800-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/dsc09800-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/dsc09800-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/dsc09800-1536x1027.jpg 1536w\" sizes=\"auto, (max-width: 1616px) 100vw, 1616px\">\u003cfigcaption class=\"wp-caption-text\">Chuck T, owner of Rich City Studios, stops for a photo while hosting an industry mixer and talent showcase. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A music producer I’ve known since we were teens, ChuckT wants the Indie Auxperience to be a industry pathway for the participating artists.\u003c/p>\n\u003cp>Attendees pay a sliding-scale fee, ranging from $14–$108. After the event, ChuckT compiles a \u003ca href=\"https://open.spotify.com/playlist/55jZEPWz20JXRlEd0FhUDn?si=tY-Ut5p9Ty6tPTg9mSfXsg&nd=1&dlsi=466ad46f8f924898\">playlist of the performers’ music\u003c/a> and strategically sends it to contacts at radio stations around the nation. He also arranges artist interviews with \u003ca href=\"https://www.instagram.com/corkys_keeperr/\">Kyrie Grayson\u003c/a>’s FN2S (From Nothing to Something Network), which focuses on unheard talent.\u003c/p>\n\u003cp>ChuckT says that in addition to gaining new fans, receiving constructive feedback and putting yourself in a position to make some sales, artists also reap the benefits of industry knowledge and connecting other artists.\u003c/p>\n\u003cp>Which is important, because making music can be a lonely process.\u003c/p>\n\u003cp>“You’re sitting in your house, and you’re working and you’re working,” he says, “if you’ve been a hermit because of your creative process, you can come out to one of these events, meet people, follow them and find out what open mics they’re going to later.”\u003c/p>\n\u003cfigure id=\"attachment_13976363\" class=\"wp-caption aligncenter\" style=\"max-width: 1616px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13976363\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/DSC09809.jpg\" alt=\"A man in a blue jacket and yellow shirt poses for a photo on a sunny day.\" width=\"1616\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/DSC09809.jpg 1616w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/DSC09809-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/DSC09809-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/DSC09809-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/DSC09809-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/DSC09809-1536x1027.jpg 1536w\" sizes=\"auto, (max-width: 1616px) 100vw, 1616px\">\u003cfigcaption class=\"wp-caption-text\">MC Azkia Malik poses for a photo on a sunny day on Treasure Island. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That much is true for Kaayla Lynn, who subscribes to the old adage, “It’s not always what you know, it’s who you know.”\u003c/p>\n\u003cp>At the Indie Auxperience, she met people who make merchandise, design websites, print posters and create content. She also met \u003ca href=\"https://www.instagram.com/azkia_malik/\">Azkia Malik\u003c/a>, who performed his song “\u003ca href=\"https://www.youtube.com/watch?v=mqYcBRKbcaE\">Vibes Right\u003c/a>.” Afterward, he invited her to perform at San Francisco’s Boom Boom Room.\u003c/p>\n\u003cp>“And then, that just opened even more doors for people to know me and my music,” Kaayla Lynn says. “When you’re in a place where there’s like-minded individuals, that’ll help you out in the future.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Rich City Studios hosts the second Indie Auxperience on Saturday, May 24 at Music City in San Francisco. \u003ca href=\"https://www.eventbrite.com/e/the-indie-auxperience-2-tickets-1333590829069\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>We’re on the cusp of summertime here in the United States, and a few things are extremely clear: we know, now more than ever, “freedom of speech” isn’t free. Artists, musicians especially, \u003ca href=\"https://www.kqed.org/arts/13893952/musicians-demand-better-pay-at-spotify-headquarters-around-the-world\">struggle to finance themselves\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13973095/bay-beats-san-francisco-public-library-streaming-local-musicians\">find ways to be heard\u003c/a>. Meanwhile, we’re living through what the U.S. surgeon general \u003ca href=\"https://www.hhs.gov/sites/default/files/surgeon-general-social-connection-advisory.pdf\">recently called\u003c/a> a loneliness epidemic.\u003c/p>\n\u003cp>So last month when I pulled up to the Rich City Studios’ \u003ca href=\"https://bio.to/IndieAuxperience\">Indie Auxperience\u003c/a>, an industry mixer and talent showcase held on Treasure Island, I was relieved to see artists coming together, expressing themselves and creating ways to generate revenue.\u003c/p>\n\u003cp>I nodded along as \u003ca href=\"https://www.instagram.com/ladymafbarbiethic415/\">Lady Maf\u003c/a> spit bars from her song “\u003ca href=\"https://www.youtube.com/watch?v=qUXiIen0-No\">I Been Thuggin’\u003c/a>.” I talked about Bay Area fashion with \u003ca href=\"https://www.instagram.com/yaboyblackice/\">Ya Boy Black Ice\u003c/a>, an MC and owner of the clothing company \u003ca href=\"https://www.instagram.com/artifactsbytravlyrics\">Artifacts By Travlyrics\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13976365\" class=\"wp-caption aligncenter\" style=\"max-width: 1616px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13976365\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/dsc09784.jpg\" alt=\"A man poses for a photo while holding a pair of glasses toward the camera.\" width=\"1616\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/dsc09784.jpg 1616w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/dsc09784-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/dsc09784-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/dsc09784-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/dsc09784-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/dsc09784-1536x1027.jpg 1536w\" sizes=\"auto, (max-width: 1616px) 100vw, 1616px\">\u003cfigcaption class=\"wp-caption-text\">Ya Boy Black Ice holds a pair of glasses from his Artifacts By Travlyrics brand. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And then I took in a performance by \u003ca href=\"https://www.instagram.com/kaaylalynnmusic\">Kaayla Lynn\u003c/a>, a sultry R&B singer who did two songs, “\u003ca href=\"https://www.youtube.com/watch?v=9aL-nx95E6E\">Away\u003c/a>” and “\u003ca href=\"https://www.youtube.com/watch?v=JNgE5Lf_OwU\">Girl of Your Dreams\u003c/a>.”\u003c/p>\n\u003cp>A performing vocalist since her freshman year at college in Atlanta, Kaayla Lynn had taken a hiatus from her craft for the past few years. But on the heels of losing a loved one last spring, the East Bay-based singer and songwriter recommitted herself to her art in 2025.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>While working as an elementary school music teacher and raising a child doesn’t leave much time for performing, Kaayla Lynn finds ways to stay active. She sings in a choir and at karaoke spots. But she says it’s hard to get her original songs heard.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>So she signed up for the Indie Auxperience, choosing to hop on stage and sing her heart out for a crowd beside an amazing view of the San Francisco skyline.\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/richcitystudios/\">Rich City Studios\u003c/a> owner \u003ca href=\"https://www.instagram.com/chucktbeats/\">Charles “ChuckT” Turner\u003c/a> created the Indie Auxperience to offer artists more than just a stage and an audience.\u003c/p>\n\u003cp>“At many open mics,” he says via phone, “you’re performing in front of other artists who are just trying to get their stuff off.”\u003c/p>\n\u003cfigure id=\"attachment_13976364\" class=\"wp-caption aligncenter\" style=\"max-width: 1616px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13976364\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/dsc09800.jpg\" alt=\"A man in a red dress shirt stands and poses for a photo.\" width=\"1616\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/dsc09800.jpg 1616w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/dsc09800-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/dsc09800-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/dsc09800-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/dsc09800-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/dsc09800-1536x1027.jpg 1536w\" sizes=\"auto, (max-width: 1616px) 100vw, 1616px\">\u003cfigcaption class=\"wp-caption-text\">Chuck T, owner of Rich City Studios, stops for a photo while hosting an industry mixer and talent showcase. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A music producer I’ve known since we were teens, ChuckT wants the Indie Auxperience to be a industry pathway for the participating artists.\u003c/p>\n\u003cp>Attendees pay a sliding-scale fee, ranging from $14–$108. After the event, ChuckT compiles a \u003ca href=\"https://open.spotify.com/playlist/55jZEPWz20JXRlEd0FhUDn?si=tY-Ut5p9Ty6tPTg9mSfXsg&nd=1&dlsi=466ad46f8f924898\">playlist of the performers’ music\u003c/a> and strategically sends it to contacts at radio stations around the nation. He also arranges artist interviews with \u003ca href=\"https://www.instagram.com/corkys_keeperr/\">Kyrie Grayson\u003c/a>’s FN2S (From Nothing to Something Network), which focuses on unheard talent.\u003c/p>\n\u003cp>ChuckT says that in addition to gaining new fans, receiving constructive feedback and putting yourself in a position to make some sales, artists also reap the benefits of industry knowledge and connecting other artists.\u003c/p>\n\u003cp>Which is important, because making music can be a lonely process.\u003c/p>\n\u003cp>“You’re sitting in your house, and you’re working and you’re working,” he says, “if you’ve been a hermit because of your creative process, you can come out to one of these events, meet people, follow them and find out what open mics they’re going to later.”\u003c/p>\n\u003cfigure id=\"attachment_13976363\" class=\"wp-caption aligncenter\" style=\"max-width: 1616px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13976363\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/DSC09809.jpg\" alt=\"A man in a blue jacket and yellow shirt poses for a photo on a sunny day.\" width=\"1616\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/DSC09809.jpg 1616w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/DSC09809-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/DSC09809-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/DSC09809-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/DSC09809-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/DSC09809-1536x1027.jpg 1536w\" sizes=\"auto, (max-width: 1616px) 100vw, 1616px\">\u003cfigcaption class=\"wp-caption-text\">MC Azkia Malik poses for a photo on a sunny day on Treasure Island. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That much is true for Kaayla Lynn, who subscribes to the old adage, “It’s not always what you know, it’s who you know.”\u003c/p>\n\u003cp>At the Indie Auxperience, she met people who make merchandise, design websites, print posters and create content. She also met \u003ca href=\"https://www.instagram.com/azkia_malik/\">Azkia Malik\u003c/a>, who performed his song “\u003ca href=\"https://www.youtube.com/watch?v=mqYcBRKbcaE\">Vibes Right\u003c/a>.” Afterward, he invited her to perform at San Francisco’s Boom Boom Room.\u003c/p>\n\u003cp>“And then, that just opened even more doors for people to know me and my music,” Kaayla Lynn says. “When you’re in a place where there’s like-minded individuals, that’ll help you out in the future.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Rich City Studios hosts the second Indie Auxperience on Saturday, May 24 at Music City in San Francisco. \u003ca href=\"https://www.eventbrite.com/e/the-indie-auxperience-2-tickets-1333590829069\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "bay-area-weird-walking-tours-haunted-history-shipwrecks",
"title": "6 Exceedingly Strange Bay Area Walking Tours",
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"content": "\u003cp>\u003cb>\u003ci>Be sure to check out our full \u003ca href=\"https://www.kqed.org/arts/tag/summer-guide-2025\">2025 Summer Arts Guide to live music, movies, art, theater, festivals and more\u003c/a> in the Bay Area.\u003c/i>\u003c/b>\u003c/p>\n\u003cp>Are you a night owl? A weirdo? A person that gets bored on nature hikes? Are you also currently being told by friends and family that, since it’s summertime, you just \u003cem>have\u003c/em> to go out in the daylight and \u003cem>walk somewhere\u003c/em>?\u003c/p>\n\u003cp>Same. Eugh.\u003c/p>\n\u003cp>Fear not, for I bring you this handy list of (guided) daytime walks guaranteed to leave you amused, confused and ghost-infused. After all, there are people that love walking around in grass and looking at trees, and then there are … us. Find somewhere weird to walk below.\u003c/p>\n\u003cfigure id=\"attachment_13976183\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13976183\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/lake-merritt-final-1.png\" alt=\"oval-shaped map featuring a lake and surrounding land and structures\" width=\"2000\" height=\"1543\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/lake-merritt-final-1.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/lake-merritt-final-1-800x617.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/lake-merritt-final-1-1020x787.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/lake-merritt-final-1-160x123.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/lake-merritt-final-1-768x593.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/lake-merritt-final-1-1536x1185.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/lake-merritt-final-1-1920x1481.png 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The map of stops on artist Scott Oliver’s ‘Once Upon a Time, Happily Ever After…’ tour of Lake Merritt. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://walk.ouroakland.net/tour/once-upon-a-time-1/?tn=341\">Once Upon a Time, Happily Ever After…\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>Lake Merritt, Oakland\u003cbr>\nFree\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This \u003ca href=\"https://www.onceuponatime-happilyeverafter.com/files/tourmap2012.pdf\">self-guided walking tour of Lake Merritt\u003c/a> is accompanied by \u003ca href=\"https://walk.ouroakland.net/stop/toward-bringing-nature-and-people-together/?tn=341\">audio clips\u003c/a> that can be found on the tour’s website — some of which are very strange. Take, for example, the introduction you hear at your first stop, the Rotary Nature Center. “The tour begins here,” says tour guide and local artist \u003ca href=\"https://scottoliverworks.com/index.php/info/biocv/\">Scott Oliver\u003c/a>. “Approximately 37 degrees, 48 minutes, 26 seconds north of the equator and 122 degrees, 15 minutes, 21 seconds west of Greenwich, England.”\u003c/p>\n\u003cp>[aside postID='arts_13975794']There are 21 stops \u003ca href=\"https://www.kqed.org/arts/tag/lake-merritt\">around the lake\u003c/a>, including the pergola, Cleveland Cascade stairway, McElroy Memorial Fountain, Pine Knoll Park, the Edoff Memorial Bandstand, the \u003ca href=\"https://www.kqed.org/arts/13866892/an-exhibit-explores-victorian-mourning-customs-ahead-of-halloween\">Camron-Stanford\u003c/a> House’s boat house foundation and (checks notes) the Kaiser Center’s \u003cem>storm drain\u003c/em>. Yep. “Once Upon a Time” is a bit weird.\u003c/p>\n\u003cp>The accompanying audio includes engaging music selections courtesy of Michael Blodgett, co-founder of Oakland’s own \u003ca href=\"https://www.yelp.com/biz/electric-sparkyland-oakland\">Electric Sparkyland Recording Studio\u003c/a>. Included are interviews with relevant experts, musicians and artists. (A particular highlight is \u003ca href=\"https://www.goodreads.com/book/show/18528717-earth-mazes\">Alex Champion\u003c/a>’s Earth Maze, at which the artist relays the conversations he has with spirits before creating his outdoor works.)\u003c/p>\n\u003cp>Because of the in-depth nature of the tour, organizers recommend breaking the walk up into three separate visits. However you decide to do it, “Once Upon a Time, Happily Ever After” will make you look at Lake Merritt from a multitude of new angles.\u003c/p>\n\u003cfigure id=\"attachment_13976261\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13976261\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/cypress-lawn-cemetery.jpg\" alt=\"A grand, pillared mausoleum next to a winding path in a cemetery. Mountains are visible in the background.\" width=\"2000\" height=\"1400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/cypress-lawn-cemetery.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/cypress-lawn-cemetery-800x560.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/cypress-lawn-cemetery-1020x714.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/cypress-lawn-cemetery-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/cypress-lawn-cemetery-768x538.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/cypress-lawn-cemetery-1536x1075.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/cypress-lawn-cemetery-1920x1344.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The Cypress Lawn Cemetery in 1915, showing the Morgan and Flood Family vaults. \u003ccite>(OpenSFHistory/wnp15.1581)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://cypresslawn.com/about/memorial-park/trolley-tours/\">Cypress Lawn Cemetery Trolley Tour\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Starts at 1370 El Camino Real, Colma\u003cbr>\n$50\u003c/i>\u003c/p>\n\u003cp>This Colma graveyard has been around since 1892, but even so, there is an \u003cem>astonishing\u003c/em> number of dead buried here. Over 300,000 people, to be specific, including San Francisco luminaries like Charles de Young, \u003ca href=\"https://www.kqed.org/arts/13883118/a-grim-history-of-nob-hills-mansions-and-the-horror-novels-they-inspired\">William Crocker\u003c/a>, William Randolph Hearst and Adolph Spreckels and his wife “\u003ca href=\"https://www.kqed.org/pop/102774/rebel-girls-from-bay-area-history-alma-de-bretteville-spreckels-philanthropist-firecracker\">Big Alma\u003c/a>.” Other culturally significant figures include transgender legend Jack Bee Garland, stunt pilot \u003ca href=\"https://www.kqed.org/arts/13925848/lincoln-beachey-stunt-pilot-crash-panama-pacific-exposition-1915-san-francisco-bay\">Lincoln Beachey\u003c/a> (who died in front of 50,000 witnesses at the 1915 Panama-Pacific International Exposition) and \u003ca href=\"https://www.kqed.org/arts/13892514/the-formerly-enslaved-cook-who-became-a-celebrity-chef-in-san-francisco\">Abby Fisher\u003c/a>, a formerly enslaved cook who became a celebrity chef.\u003c/p>\n\u003cp>A \u003ca href=\"https://cypresslawn.com/events/\">variety of different tours\u003c/a> are available at Cypress Lawn this summer. Some involve sports figures, some involve wine, and all will teach you fascinating things about the dead legends in this vast and storied cemetery.\u003c/p>\n\u003cfigure id=\"attachment_13976085\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13976085\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/old-ship-saloon.jpg\" alt=\"A group of older men stand cheering underneath an outdoor bar sign at the Old Ship Saloon. They are raising their arms and cheering.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/old-ship-saloon.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/old-ship-saloon-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/old-ship-saloon-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/old-ship-saloon-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/old-ship-saloon-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/old-ship-saloon-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/old-ship-saloon-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Revelers outside the Old Ship Saloon, a bar that dates back to 1851 and is featured on the San Francisco Haunted Pub Crawl. \u003ccite>(San Francisco Chronicle/Hearst Newspapers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://sfghosts.com/haunted-pub-crawl/\">Haunted Pub Crawl\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Starts at various San Francisco locations\u003cbr>\n$31.90\u003c/i>\u003c/p>\n\u003cp>Seasonal Halloween walking tours may come and go, but truly dedicated ghost hunters will talk your ear off about ghouls and specters even on a warm summer’s eve.\u003c/p>\n\u003cp>Take the guides for \u003ca href=\"https://sfghosts.com\">San Francisco Ghosts\u003c/a>. Year-round, they happily lead strangers through the city to historic locations with amazing backstories and — if you’re lucky — paranormal activity. “\u003ca href=\"https://sfghosts.com/gold-greed-and-gunslingers-forging-san-francisco/\">Gold, Greed and Gunslingers\u003c/a>,” with its tales of Gold Rush gangs, is one of the company’s highlights, but for those who need a side of liquid courage with their EMF machine (rentable for $7 per tour!), the \u003cem>Haunted Pub Crawl\u003c/em> is the way to go.\u003c/p>\n\u003cp>Journeying around the city’s most historic neighborhoods to bars like North Beach’s Specs, Chinatown’s Lipo Lounge and one of San Francisco’s oldest bars, the Old Ship Saloon, the tour isn’t just educational, it’s a boo-nafide party.\u003c/p>\n\u003cfigure id=\"attachment_13976245\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13976245\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/welch-bandit.jpg\" alt=\"An older gentleman wearing a casual and colorful shirt leans on the statue of a man in a top hat that is also an antique slot machine.\" width=\"2000\" height=\"1348\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/welch-bandit.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/welch-bandit-800x539.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/welch-bandit-1020x687.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/welch-bandit-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/welch-bandit-768x518.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/welch-bandit-1536x1035.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/welch-bandit-1920x1294.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Joe Welch in his private slot machine museum, with one modeled on his likeness. \u003ccite>(LIZ HAFALIA/THE CHRONICLE)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://historysmc.org/\">American Slot Machines\u003c/a>\u003c/h2>\n\u003cp>\u003ci>August 2, 2025 at 10 a.m.\u003cbr>\nStarts at 400 San Mateo Avenue, San Bruno\u003cbr>\nFree, no need to RSVP\u003c/i>\u003c/p>\n\u003cp>Fans of San Francisco’s beloved \u003ca href=\"https://www.kqed.org/education/538245/musee-mecanique-vintage-arcade-game-challenge\">Musée Mécanique\u003c/a> will get a major kick out of the San Mateo County Historical Association’s tour of San Bruno’s business district. Why? The final stop on the walking tour is the Joe Welch American Slot Machine Museum. Welch spent decades collecting gumball machines, antique fortune-telling novelties and slot machines dating back to the 1890s. He housed them all in the offices of his family’s real estate business, where his son continues to maintain the extraordinary collection today. The museum is not generally open to the public, but exceptions are made for participants of this quirky San Bruno walking tour.\u003c/p>\n\u003cp>The tour, led by the historical association’s president Mitch Postel, takes visitors down San Mateo Avenue to spots like the original EIMAC building (an essential hub that made parts for radar transmitters during World War II), \u003ca href=\"https://artichokejoes.com/\">Artichoke Joe’s\u003c/a> (which started as a card room named Joe’s Pool Hall in 1921) and an art deco barber shop. It also includes an odd location used in the 1988 Francis Ford Coppola movie, \u003cem>\u003ca href=\"https://www.imdb.com/title/tt0096316/?ref_=nv_sr_srsg_0_tt_7_nm_1_in_0_q_tucker%253A%2520the%2520man\">Tucker: The Man and His Dream\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>Locals will enjoy the San Bruno history, but the slot machines at the tour’s finale make an unusual treat for everyone.\u003c/p>\n\u003cfigure id=\"attachment_13976057\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13976057\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/mare-island.jpg\" alt=\"Black and white image: A huge submarine launches from a dock that's crowded with observers.\" width=\"2000\" height=\"1429\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/mare-island.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/mare-island-800x572.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/mare-island-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/mare-island-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/mare-island-768x549.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/mare-island-1536x1097.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/mare-island-1920x1372.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Mare Island Navy Yard as it was in April 1939. The USS Swordfish submarine launches. It was sunk in battle six years later. \u003ccite>(H. Armstrong Roberts/ClassicStock/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.mihpf.org/\">Mare Island Naval History\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Starts at St. Peter’s Chapel, 1181 Walnut Ave., Vallejo\u003cbr>\n$20; free for children under 13\u003c/i>\u003c/p>\n\u003cp>Visiting the first U.S. naval base on the West Coast might not sound like the most obvious Fun Day Out, but \u003ca href=\"https://www.kqed.org/news/12023708/surprising-ways-former-bay-area-military-bases-are-transforming-and-why-it-takes-so-long\">Mare Island\u003c/a> is full of surprises. The docent-led tours that take place every first and third week of the month (on Thursdays and weekends) yield some genuinely bewildering sights. Take, for example, the very picturesque Alden Park, which contains a 19th-century bandstand \u003cem>and\u003c/em> a 28-foot ballistic missile — directly next to each other. And that’s before you get to the bunkers.\u003c/p>\n\u003cp>Also on the tour: the oldest naval chapel in the country (containing 25 beautiful Tiffany stained-glass windows), the 125-year-old Admiral’s Mansion and the very creepy administrative building. There are also submarines, dry docks and a pipe shop dating back to 1855.\u003c/p>\n\u003cp>Is this all a bit weird? Yes. Is Mare Island still worth a visit? Absolutely. When you’re done with the tour, you can check out the art studios, breweries, coffee shops and other small businesses that now occupy the old military buildings and coal sheds.\u003c/p>\n\u003cfigure id=\"attachment_13952285\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952285\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1918705610-scaled-e1707901565607.jpg\" alt=\"A drone view of a lighthouse on a rugged coastline.\" width=\"1920\" height=\"1244\">\u003cfigcaption class=\"wp-caption-text\">Pigeon Point Lighthouse at the Station State Historic Park in Pescadero. Before its arrival, this section of coastline regularly sank ships. \u003ccite>(Jane Tyska/ Digital First Media/ East Bay Times via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://santacruzstateparks.as.me/schedule/0ef4b536/appointment/28957978/calendar/6326642?appointmentTypeIds%5B%5D=28957978\">Pigeon Point Light Station\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Starts at “the sign in front of the first cottage,” Pescadero\u003cbr>\nFree, \u003ca href=\"https://santacruzstateparks.as.me/schedule/0ef4b536/appointment/28957978/calendar/6326642?calendarIds=6326642\">RSVP\u003c/a> or just show up\u003c/i>\u003c/p>\n\u003cp>To random passersby, Pigeon Point is merely one more dramatic and windswept spot on California’s beautiful coastline. For those who know why \u003ca href=\"https://www.kqed.org/arts/13952258/pigeon-point-lighthouse-history-1860s-shipwrecks-coya-hellespoint-tragedy\">there’s been a lighthouse at Pigeon Point since 1872\u003c/a>, the crashing waves around the historic 115-foot structure carry much more meaning. Prior to its construction, \u003cem>San Mateo County Gazette\u003c/em> editor H.A. Scofield noted: “No other place on the Pacific Coast has proved so fatal to navigators as this locality.”\u003c/p>\n\u003cp>Indeed. Before there was a light on the land, this area sank many an important ship. The Carrier Pigeon in 1853, the Sir John Franklin in 1864, the Coya in 1866 and the Hellespont in 1868. Scores of men, women and children lost their lives in these wrecks before construction of the lighthouse was finally approved.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Though the lighthouse is currently under restoration and closed to the public, there are still \u003ca href=\"https://santacruzstateparks.as.me/schedule/0ef4b536/appointment/28957978/calendar/6326642?appointmentTypeIds%5B%5D=28957978\">45-minute tours of the area every Sunday\u003c/a> that take you back in time and share tons of information about the shipwrecks, bootleggers and other tough characters that once lived and died in the area.\u003c/p>\n\n",
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"excerpt": "From Pescadero to Vallejo’s Mare Island, these tours are packed with Bay Area history and other delights.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cb>\u003ci>Be sure to check out our full \u003ca href=\"https://www.kqed.org/arts/tag/summer-guide-2025\">2025 Summer Arts Guide to live music, movies, art, theater, festivals and more\u003c/a> in the Bay Area.\u003c/i>\u003c/b>\u003c/p>\n\u003cp>Are you a night owl? A weirdo? A person that gets bored on nature hikes? Are you also currently being told by friends and family that, since it’s summertime, you just \u003cem>have\u003c/em> to go out in the daylight and \u003cem>walk somewhere\u003c/em>?\u003c/p>\n\u003cp>Same. Eugh.\u003c/p>\n\u003cp>Fear not, for I bring you this handy list of (guided) daytime walks guaranteed to leave you amused, confused and ghost-infused. After all, there are people that love walking around in grass and looking at trees, and then there are … us. Find somewhere weird to walk below.\u003c/p>\n\u003cfigure id=\"attachment_13976183\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13976183\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/lake-merritt-final-1.png\" alt=\"oval-shaped map featuring a lake and surrounding land and structures\" width=\"2000\" height=\"1543\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/lake-merritt-final-1.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/lake-merritt-final-1-800x617.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/lake-merritt-final-1-1020x787.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/lake-merritt-final-1-160x123.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/lake-merritt-final-1-768x593.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/lake-merritt-final-1-1536x1185.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/lake-merritt-final-1-1920x1481.png 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The map of stops on artist Scott Oliver’s ‘Once Upon a Time, Happily Ever After…’ tour of Lake Merritt. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://walk.ouroakland.net/tour/once-upon-a-time-1/?tn=341\">Once Upon a Time, Happily Ever After…\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>Lake Merritt, Oakland\u003cbr>\nFree\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This \u003ca href=\"https://www.onceuponatime-happilyeverafter.com/files/tourmap2012.pdf\">self-guided walking tour of Lake Merritt\u003c/a> is accompanied by \u003ca href=\"https://walk.ouroakland.net/stop/toward-bringing-nature-and-people-together/?tn=341\">audio clips\u003c/a> that can be found on the tour’s website — some of which are very strange. Take, for example, the introduction you hear at your first stop, the Rotary Nature Center. “The tour begins here,” says tour guide and local artist \u003ca href=\"https://scottoliverworks.com/index.php/info/biocv/\">Scott Oliver\u003c/a>. “Approximately 37 degrees, 48 minutes, 26 seconds north of the equator and 122 degrees, 15 minutes, 21 seconds west of Greenwich, England.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>There are 21 stops \u003ca href=\"https://www.kqed.org/arts/tag/lake-merritt\">around the lake\u003c/a>, including the pergola, Cleveland Cascade stairway, McElroy Memorial Fountain, Pine Knoll Park, the Edoff Memorial Bandstand, the \u003ca href=\"https://www.kqed.org/arts/13866892/an-exhibit-explores-victorian-mourning-customs-ahead-of-halloween\">Camron-Stanford\u003c/a> House’s boat house foundation and (checks notes) the Kaiser Center’s \u003cem>storm drain\u003c/em>. Yep. “Once Upon a Time” is a bit weird.\u003c/p>\n\u003cp>The accompanying audio includes engaging music selections courtesy of Michael Blodgett, co-founder of Oakland’s own \u003ca href=\"https://www.yelp.com/biz/electric-sparkyland-oakland\">Electric Sparkyland Recording Studio\u003c/a>. Included are interviews with relevant experts, musicians and artists. (A particular highlight is \u003ca href=\"https://www.goodreads.com/book/show/18528717-earth-mazes\">Alex Champion\u003c/a>’s Earth Maze, at which the artist relays the conversations he has with spirits before creating his outdoor works.)\u003c/p>\n\u003cp>Because of the in-depth nature of the tour, organizers recommend breaking the walk up into three separate visits. However you decide to do it, “Once Upon a Time, Happily Ever After” will make you look at Lake Merritt from a multitude of new angles.\u003c/p>\n\u003cfigure id=\"attachment_13976261\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13976261\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/cypress-lawn-cemetery.jpg\" alt=\"A grand, pillared mausoleum next to a winding path in a cemetery. Mountains are visible in the background.\" width=\"2000\" height=\"1400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/cypress-lawn-cemetery.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/cypress-lawn-cemetery-800x560.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/cypress-lawn-cemetery-1020x714.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/cypress-lawn-cemetery-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/cypress-lawn-cemetery-768x538.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/cypress-lawn-cemetery-1536x1075.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/cypress-lawn-cemetery-1920x1344.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The Cypress Lawn Cemetery in 1915, showing the Morgan and Flood Family vaults. \u003ccite>(OpenSFHistory/wnp15.1581)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://cypresslawn.com/about/memorial-park/trolley-tours/\">Cypress Lawn Cemetery Trolley Tour\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Starts at 1370 El Camino Real, Colma\u003cbr>\n$50\u003c/i>\u003c/p>\n\u003cp>This Colma graveyard has been around since 1892, but even so, there is an \u003cem>astonishing\u003c/em> number of dead buried here. Over 300,000 people, to be specific, including San Francisco luminaries like Charles de Young, \u003ca href=\"https://www.kqed.org/arts/13883118/a-grim-history-of-nob-hills-mansions-and-the-horror-novels-they-inspired\">William Crocker\u003c/a>, William Randolph Hearst and Adolph Spreckels and his wife “\u003ca href=\"https://www.kqed.org/pop/102774/rebel-girls-from-bay-area-history-alma-de-bretteville-spreckels-philanthropist-firecracker\">Big Alma\u003c/a>.” Other culturally significant figures include transgender legend Jack Bee Garland, stunt pilot \u003ca href=\"https://www.kqed.org/arts/13925848/lincoln-beachey-stunt-pilot-crash-panama-pacific-exposition-1915-san-francisco-bay\">Lincoln Beachey\u003c/a> (who died in front of 50,000 witnesses at the 1915 Panama-Pacific International Exposition) and \u003ca href=\"https://www.kqed.org/arts/13892514/the-formerly-enslaved-cook-who-became-a-celebrity-chef-in-san-francisco\">Abby Fisher\u003c/a>, a formerly enslaved cook who became a celebrity chef.\u003c/p>\n\u003cp>A \u003ca href=\"https://cypresslawn.com/events/\">variety of different tours\u003c/a> are available at Cypress Lawn this summer. Some involve sports figures, some involve wine, and all will teach you fascinating things about the dead legends in this vast and storied cemetery.\u003c/p>\n\u003cfigure id=\"attachment_13976085\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13976085\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/old-ship-saloon.jpg\" alt=\"A group of older men stand cheering underneath an outdoor bar sign at the Old Ship Saloon. They are raising their arms and cheering.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/old-ship-saloon.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/old-ship-saloon-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/old-ship-saloon-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/old-ship-saloon-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/old-ship-saloon-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/old-ship-saloon-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/old-ship-saloon-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Revelers outside the Old Ship Saloon, a bar that dates back to 1851 and is featured on the San Francisco Haunted Pub Crawl. \u003ccite>(San Francisco Chronicle/Hearst Newspapers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://sfghosts.com/haunted-pub-crawl/\">Haunted Pub Crawl\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Starts at various San Francisco locations\u003cbr>\n$31.90\u003c/i>\u003c/p>\n\u003cp>Seasonal Halloween walking tours may come and go, but truly dedicated ghost hunters will talk your ear off about ghouls and specters even on a warm summer’s eve.\u003c/p>\n\u003cp>Take the guides for \u003ca href=\"https://sfghosts.com\">San Francisco Ghosts\u003c/a>. Year-round, they happily lead strangers through the city to historic locations with amazing backstories and — if you’re lucky — paranormal activity. “\u003ca href=\"https://sfghosts.com/gold-greed-and-gunslingers-forging-san-francisco/\">Gold, Greed and Gunslingers\u003c/a>,” with its tales of Gold Rush gangs, is one of the company’s highlights, but for those who need a side of liquid courage with their EMF machine (rentable for $7 per tour!), the \u003cem>Haunted Pub Crawl\u003c/em> is the way to go.\u003c/p>\n\u003cp>Journeying around the city’s most historic neighborhoods to bars like North Beach’s Specs, Chinatown’s Lipo Lounge and one of San Francisco’s oldest bars, the Old Ship Saloon, the tour isn’t just educational, it’s a boo-nafide party.\u003c/p>\n\u003cfigure id=\"attachment_13976245\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13976245\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/welch-bandit.jpg\" alt=\"An older gentleman wearing a casual and colorful shirt leans on the statue of a man in a top hat that is also an antique slot machine.\" width=\"2000\" height=\"1348\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/welch-bandit.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/welch-bandit-800x539.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/welch-bandit-1020x687.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/welch-bandit-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/welch-bandit-768x518.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/welch-bandit-1536x1035.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/welch-bandit-1920x1294.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Joe Welch in his private slot machine museum, with one modeled on his likeness. \u003ccite>(LIZ HAFALIA/THE CHRONICLE)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://historysmc.org/\">American Slot Machines\u003c/a>\u003c/h2>\n\u003cp>\u003ci>August 2, 2025 at 10 a.m.\u003cbr>\nStarts at 400 San Mateo Avenue, San Bruno\u003cbr>\nFree, no need to RSVP\u003c/i>\u003c/p>\n\u003cp>Fans of San Francisco’s beloved \u003ca href=\"https://www.kqed.org/education/538245/musee-mecanique-vintage-arcade-game-challenge\">Musée Mécanique\u003c/a> will get a major kick out of the San Mateo County Historical Association’s tour of San Bruno’s business district. Why? The final stop on the walking tour is the Joe Welch American Slot Machine Museum. Welch spent decades collecting gumball machines, antique fortune-telling novelties and slot machines dating back to the 1890s. He housed them all in the offices of his family’s real estate business, where his son continues to maintain the extraordinary collection today. The museum is not generally open to the public, but exceptions are made for participants of this quirky San Bruno walking tour.\u003c/p>\n\u003cp>The tour, led by the historical association’s president Mitch Postel, takes visitors down San Mateo Avenue to spots like the original EIMAC building (an essential hub that made parts for radar transmitters during World War II), \u003ca href=\"https://artichokejoes.com/\">Artichoke Joe’s\u003c/a> (which started as a card room named Joe’s Pool Hall in 1921) and an art deco barber shop. It also includes an odd location used in the 1988 Francis Ford Coppola movie, \u003cem>\u003ca href=\"https://www.imdb.com/title/tt0096316/?ref_=nv_sr_srsg_0_tt_7_nm_1_in_0_q_tucker%253A%2520the%2520man\">Tucker: The Man and His Dream\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>Locals will enjoy the San Bruno history, but the slot machines at the tour’s finale make an unusual treat for everyone.\u003c/p>\n\u003cfigure id=\"attachment_13976057\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13976057\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/mare-island.jpg\" alt=\"Black and white image: A huge submarine launches from a dock that's crowded with observers.\" width=\"2000\" height=\"1429\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/mare-island.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/mare-island-800x572.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/mare-island-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/mare-island-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/mare-island-768x549.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/mare-island-1536x1097.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/mare-island-1920x1372.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Mare Island Navy Yard as it was in April 1939. The USS Swordfish submarine launches. It was sunk in battle six years later. \u003ccite>(H. Armstrong Roberts/ClassicStock/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.mihpf.org/\">Mare Island Naval History\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Starts at St. Peter’s Chapel, 1181 Walnut Ave., Vallejo\u003cbr>\n$20; free for children under 13\u003c/i>\u003c/p>\n\u003cp>Visiting the first U.S. naval base on the West Coast might not sound like the most obvious Fun Day Out, but \u003ca href=\"https://www.kqed.org/news/12023708/surprising-ways-former-bay-area-military-bases-are-transforming-and-why-it-takes-so-long\">Mare Island\u003c/a> is full of surprises. The docent-led tours that take place every first and third week of the month (on Thursdays and weekends) yield some genuinely bewildering sights. Take, for example, the very picturesque Alden Park, which contains a 19th-century bandstand \u003cem>and\u003c/em> a 28-foot ballistic missile — directly next to each other. And that’s before you get to the bunkers.\u003c/p>\n\u003cp>Also on the tour: the oldest naval chapel in the country (containing 25 beautiful Tiffany stained-glass windows), the 125-year-old Admiral’s Mansion and the very creepy administrative building. There are also submarines, dry docks and a pipe shop dating back to 1855.\u003c/p>\n\u003cp>Is this all a bit weird? Yes. Is Mare Island still worth a visit? Absolutely. When you’re done with the tour, you can check out the art studios, breweries, coffee shops and other small businesses that now occupy the old military buildings and coal sheds.\u003c/p>\n\u003cfigure id=\"attachment_13952285\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952285\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1918705610-scaled-e1707901565607.jpg\" alt=\"A drone view of a lighthouse on a rugged coastline.\" width=\"1920\" height=\"1244\">\u003cfigcaption class=\"wp-caption-text\">Pigeon Point Lighthouse at the Station State Historic Park in Pescadero. Before its arrival, this section of coastline regularly sank ships. \u003ccite>(Jane Tyska/ Digital First Media/ East Bay Times via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://santacruzstateparks.as.me/schedule/0ef4b536/appointment/28957978/calendar/6326642?appointmentTypeIds%5B%5D=28957978\">Pigeon Point Light Station\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Starts at “the sign in front of the first cottage,” Pescadero\u003cbr>\nFree, \u003ca href=\"https://santacruzstateparks.as.me/schedule/0ef4b536/appointment/28957978/calendar/6326642?calendarIds=6326642\">RSVP\u003c/a> or just show up\u003c/i>\u003c/p>\n\u003cp>To random passersby, Pigeon Point is merely one more dramatic and windswept spot on California’s beautiful coastline. For those who know why \u003ca href=\"https://www.kqed.org/arts/13952258/pigeon-point-lighthouse-history-1860s-shipwrecks-coya-hellespoint-tragedy\">there’s been a lighthouse at Pigeon Point since 1872\u003c/a>, the crashing waves around the historic 115-foot structure carry much more meaning. Prior to its construction, \u003cem>San Mateo County Gazette\u003c/em> editor H.A. Scofield noted: “No other place on the Pacific Coast has proved so fatal to navigators as this locality.”\u003c/p>\n\u003cp>Indeed. Before there was a light on the land, this area sank many an important ship. The Carrier Pigeon in 1853, the Sir John Franklin in 1864, the Coya in 1866 and the Hellespont in 1868. Scores of men, women and children lost their lives in these wrecks before construction of the lighthouse was finally approved.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Though the lighthouse is currently under restoration and closed to the public, there are still \u003ca href=\"https://santacruzstateparks.as.me/schedule/0ef4b536/appointment/28957978/calendar/6326642?appointmentTypeIds%5B%5D=28957978\">45-minute tours of the area every Sunday\u003c/a> that take you back in time and share tons of information about the shipwrecks, bootleggers and other tough characters that once lived and died in the area.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "the-weeknd-movie-review-hurry-up-tomorrow-abel-tesfaye-jenna-ortega",
"title": "‘Hurry Up Tomorrow’ Will Make You Want to Skip The Weeknd",
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"content": "\u003cp>It’s the final night of tour. SoFi Stadium, just outside Los Angeles, is packed. 80,000 fans stand before The Weeknd, an endless sea of blinding lights. The bestselling artist born Abel Tesfaye emerges onstage. He launches into the first song. Less than a minute goes by, and the unthinkable happens: His voice cracks. And then it is gone.\u003c/p>\n\u003cp>That September night in 2022 marked a turning point for Tesfaye. He mines the scene in \u003cem>Hurry Up Tomorrow\u003c/em>, where, ironically, it arrives too late. The tedium of an incoherent first act paints the charismatic performer — one of the last few decades’ most popular — as an unempathetic protagonist in a nonlinear and nonsensical world.\u003c/p>\n\u003cp>[aside postid='arts_13976063']But how much of The Weeknd is here, really? In his first leading role in a feature film, directed by Trey Edward Shults, Tesfaye plays a fictionalized version of himself, an insomniac musician (as made explicitly clear in the “Wake Me Up” leitmotif, where he sings, “Sun is never rising / I don’t know if it’s day or night”). He’s marred by a recent breakup from an ex portrayed in a cruel voicemail message (“I used to think you were a good person,” she says) and a hedonistic lifestyle, instigated by his superficial friend-manager Lee, played Barry Keoghan.\u003c/p>\n\u003cp>Shortly after Tesfaye loses his voice, a psychosomatic ailment, he meets superfan Amina, portrayed by Jenna Ortega. She offers temporary comfort and, in return, is afforded no agency. She exists for him. Soon, the uninspired horrors begin, culminating in what recalls the torture scene in \u003cem>Reservoir Dogs\u003c/em> with less violence. Instead, Amina — when she is not weeping; I urge all viewers to keep a “cry count” and consider what feminist blogs might have to say — lip-syncs some of The Weeknd’s biggest hits back to him, explaining that they’re all about “emptiness and heartbreak.” Woven throughout is some conversation about absent fathers and fear of abandonment, with unearned delivery and first-draft acuity — something gesturing at depth without piercing the surface.\u003c/p>\n\u003cp>According to press materials, Amina and Lee are not real people but representations of Tesfaye. She is meant to represent Tesfaye’s disconnected, “deeper emotional self” — and Lee, his public persona. That is not made explicitly clear in the film, except in a very generous reading of the ending. Subtext only works when there is context to back it up, otherwise, you are left with \u003cem>Hurry Up Tomorrow\u003c/em>: an exciting vanity project with surrealist imagination but stiff writing, no stakes, limited emotional weight and an unclear narrative.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That won’t be an issue for superfans, of course — those intimately familiar with The Weeknd’s music and career. This film appears to be for them and Tesfaye, a producer, alone; they have the framework in which to enjoy the runtime. Considering that fandom is the dominant form of popular culture, it’s not a bad business decision.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=hg0oFI2egfo\u003c/p>\n\u003cp>And it’s worked for him before. This is not Tesfaye’s first foray into acting. Aside from his cameo in \u003ca href=\"https://www.kqed.org/arts/13872331/uncut-gems-glittering-darkly\">\u003cem>Uncut Gems\u003c/em>\u003c/a>, he starred in HBO’s 2023 series \u003ca href=\"https://www.kqed.org/arts/13930117/why-cant-hollywood-get-pop-stardom-right\">\u003cem>The Idol\u003c/em>\u003c/a>. He co-created the show with \u003ca href=\"https://www.kqed.org/arts/13907939/hbos-euphoria-is-more-than-a-parents-worst-nightmare-its-a-creative-triumph\">Sam Levinson\u003c/a>, a show that similarly presented unearned provocation. At the time, \u003cem>The Idol\u003c/em> received criticism for its sadomasochistic storytelling that emerged after a shift away from “the female perspective,” allegedly a request from Tesfaye. It was not a clever or subversive show, nor was it really even about anything, but it did inspire conversation. It’s easy to see how \u003cem>Hurry Up Tomorrow\u003c/em> may have similar effects.\u003c/p>\n\u003cp>In a moment where autobiographical films about musicians are playful and creative — Pharrell Williams’ Lego partnership \u003ca href=\"https://www.kqed.org/arts/13966185/pharrell-williams-documentary-review-piece-by-piece-lego\">\u003cem>Piece by Piece\u003c/em>\u003c/a> comes to mind, as does Robbie Williams’ \u003cem>Better Man\u003c/em> — \u003cem>Hurry Up Tomorrow\u003c/em> feels like a misstep for those outside The Weeknd’s most devoted. Of course, the film does not identify as a biopic. But it could’ve benefited from less self-seriousness. And editing.\u003c/p>\n\u003cp>[aside postid='arts_13976029']But what about the music? \u003cem>Hurry Up Tomorrow\u003c/em> is connected to Tesfaye’s latest album of the same name — and the final chapter in The Weeknd’s record-breaking trilogy that began with 2020’s \u003cem>After Hours\u003c/em> and continued with 2022’s \u003cem>Dawn FM\u003c/em>. The album, the quietest of the series, worked as an allegory on the trials of fame — a topic long covered by the most successful purveyors of pop. Retrospectively, it works best as a film’s soundtrack than a stand-alone record, ambitious. Like the movie, it gestures at criticism of the celebrity-industrial complex without accomplishing it. It seems obvious, now, to learn that the movie predates the record.\u003c/p>\n\u003cp>The film’s strength far and away is its score, composed by Tesfaye with Daniel Lopatin (better known as the experimental electronic musician Oneohtrix Point Never and for his \u003cem>Good Time\u003c/em> and \u003cem>Uncut Gems\u003c/em> scores). It builds from Tesfaye’s discography and morphs into something physical and psychedelic — at its most elated, dread-filled and clubby. It is so affecting, it almost distracts from moments of dizzying cinematography, with the films’ penchant for spinning frames, zooms into upside skylines, blurred vision and erratic lights.\u003c/p>\n\u003cp>Those tools feel better suited for a music video, the kind of sophisticated visual world Tesfaye has developed in his pop career. They elevate his euphoric, layered, evocative dance-pop, but they do not translate in this film.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Hurry Up Tomorrow’ is released nationwide on May 16, 2025.\u003c/em>\u003c/p>\n\n",
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"title": "Movie Review: ‘Hurry Up Tomorrow’ Is a Self-Indulgent Mess | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s the final night of tour. SoFi Stadium, just outside Los Angeles, is packed. 80,000 fans stand before The Weeknd, an endless sea of blinding lights. The bestselling artist born Abel Tesfaye emerges onstage. He launches into the first song. Less than a minute goes by, and the unthinkable happens: His voice cracks. And then it is gone.\u003c/p>\n\u003cp>That September night in 2022 marked a turning point for Tesfaye. He mines the scene in \u003cem>Hurry Up Tomorrow\u003c/em>, where, ironically, it arrives too late. The tedium of an incoherent first act paints the charismatic performer — one of the last few decades’ most popular — as an unempathetic protagonist in a nonlinear and nonsensical world.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But how much of The Weeknd is here, really? In his first leading role in a feature film, directed by Trey Edward Shults, Tesfaye plays a fictionalized version of himself, an insomniac musician (as made explicitly clear in the “Wake Me Up” leitmotif, where he sings, “Sun is never rising / I don’t know if it’s day or night”). He’s marred by a recent breakup from an ex portrayed in a cruel voicemail message (“I used to think you were a good person,” she says) and a hedonistic lifestyle, instigated by his superficial friend-manager Lee, played Barry Keoghan.\u003c/p>\n\u003cp>Shortly after Tesfaye loses his voice, a psychosomatic ailment, he meets superfan Amina, portrayed by Jenna Ortega. She offers temporary comfort and, in return, is afforded no agency. She exists for him. Soon, the uninspired horrors begin, culminating in what recalls the torture scene in \u003cem>Reservoir Dogs\u003c/em> with less violence. Instead, Amina — when she is not weeping; I urge all viewers to keep a “cry count” and consider what feminist blogs might have to say — lip-syncs some of The Weeknd’s biggest hits back to him, explaining that they’re all about “emptiness and heartbreak.” Woven throughout is some conversation about absent fathers and fear of abandonment, with unearned delivery and first-draft acuity — something gesturing at depth without piercing the surface.\u003c/p>\n\u003cp>According to press materials, Amina and Lee are not real people but representations of Tesfaye. She is meant to represent Tesfaye’s disconnected, “deeper emotional self” — and Lee, his public persona. That is not made explicitly clear in the film, except in a very generous reading of the ending. Subtext only works when there is context to back it up, otherwise, you are left with \u003cem>Hurry Up Tomorrow\u003c/em>: an exciting vanity project with surrealist imagination but stiff writing, no stakes, limited emotional weight and an unclear narrative.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That won’t be an issue for superfans, of course — those intimately familiar with The Weeknd’s music and career. This film appears to be for them and Tesfaye, a producer, alone; they have the framework in which to enjoy the runtime. Considering that fandom is the dominant form of popular culture, it’s not a bad business decision.\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/hg0oFI2egfo'\n title='//www.youtube.com/embed/hg0oFI2egfo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>And it’s worked for him before. This is not Tesfaye’s first foray into acting. Aside from his cameo in \u003ca href=\"https://www.kqed.org/arts/13872331/uncut-gems-glittering-darkly\">\u003cem>Uncut Gems\u003c/em>\u003c/a>, he starred in HBO’s 2023 series \u003ca href=\"https://www.kqed.org/arts/13930117/why-cant-hollywood-get-pop-stardom-right\">\u003cem>The Idol\u003c/em>\u003c/a>. He co-created the show with \u003ca href=\"https://www.kqed.org/arts/13907939/hbos-euphoria-is-more-than-a-parents-worst-nightmare-its-a-creative-triumph\">Sam Levinson\u003c/a>, a show that similarly presented unearned provocation. At the time, \u003cem>The Idol\u003c/em> received criticism for its sadomasochistic storytelling that emerged after a shift away from “the female perspective,” allegedly a request from Tesfaye. It was not a clever or subversive show, nor was it really even about anything, but it did inspire conversation. It’s easy to see how \u003cem>Hurry Up Tomorrow\u003c/em> may have similar effects.\u003c/p>\n\u003cp>In a moment where autobiographical films about musicians are playful and creative — Pharrell Williams’ Lego partnership \u003ca href=\"https://www.kqed.org/arts/13966185/pharrell-williams-documentary-review-piece-by-piece-lego\">\u003cem>Piece by Piece\u003c/em>\u003c/a> comes to mind, as does Robbie Williams’ \u003cem>Better Man\u003c/em> — \u003cem>Hurry Up Tomorrow\u003c/em> feels like a misstep for those outside The Weeknd’s most devoted. Of course, the film does not identify as a biopic. But it could’ve benefited from less self-seriousness. And editing.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But what about the music? \u003cem>Hurry Up Tomorrow\u003c/em> is connected to Tesfaye’s latest album of the same name — and the final chapter in The Weeknd’s record-breaking trilogy that began with 2020’s \u003cem>After Hours\u003c/em> and continued with 2022’s \u003cem>Dawn FM\u003c/em>. The album, the quietest of the series, worked as an allegory on the trials of fame — a topic long covered by the most successful purveyors of pop. Retrospectively, it works best as a film’s soundtrack than a stand-alone record, ambitious. Like the movie, it gestures at criticism of the celebrity-industrial complex without accomplishing it. It seems obvious, now, to learn that the movie predates the record.\u003c/p>\n\u003cp>The film’s strength far and away is its score, composed by Tesfaye with Daniel Lopatin (better known as the experimental electronic musician Oneohtrix Point Never and for his \u003cem>Good Time\u003c/em> and \u003cem>Uncut Gems\u003c/em> scores). It builds from Tesfaye’s discography and morphs into something physical and psychedelic — at its most elated, dread-filled and clubby. It is so affecting, it almost distracts from moments of dizzying cinematography, with the films’ penchant for spinning frames, zooms into upside skylines, blurred vision and erratic lights.\u003c/p>\n\u003cp>Those tools feel better suited for a music video, the kind of sophisticated visual world Tesfaye has developed in his pop career. They elevate his euphoric, layered, evocative dance-pop, but they do not translate in this film.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Hurry Up Tomorrow’ is released nationwide on May 16, 2025.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "best-jazz-bay-area-summer-concerts-festivals",
"title": "10 of the Best Jazz Shows in the Bay Area This Summer",
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"content": "\u003cp>\u003cb>\u003ci>Be sure to check out our full \u003ca href=\"https://www.kqed.org/arts/tag/summer-guide-2025\">2025 Summer Arts Guide to live music, movies, art, theater, festivals and more\u003c/a> in the Bay Area.\u003c/i>\u003c/b>\u003c/p>\n\u003cp>It’s an unpredictable summer, folks. Some find escape in \u003ca href=\"https://www.kqed.org/arts/13975778/summer-concerts-music-festivals-bay-area-san-francisco-napa-oakland\">music festivals\u003c/a> or \u003ca href=\"https://www.kqed.org/arts/13976207/bay-area-summer-djing-glass-blowing-ceramics-sewing-gardening\">hands-on diversions\u003c/a>, while I’ve always gotten lost in jazz — especially live jazz, and its beautiful reshaping of the world and one’s self in it. \u003c/p>\n\u003cp>Here are 10 excellent jazz shows in the Bay Area this summer.\u003c/p>\n\u003cfigure id=\"attachment_13976346\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/howardwiley.courtesy.jpg\" alt=\"\" width=\"1920\" height=\"1081\" class=\"size-full wp-image-13976346\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/howardwiley.courtesy.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/howardwiley.courtesy-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/howardwiley.courtesy-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/howardwiley.courtesy-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/howardwiley.courtesy-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/howardwiley.courtesy-1536x865.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Howard Wiley. \u003ccite>(Artist photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfjazz.org/tickets/productions/24-25/howard-wiley/\">Howard Wiley’s ‘California Love Pt. II’\u003c/a>\u003c/h2>\n\u003cp>\u003cem>May 24, 2025\u003c/em>\u003cbr>\n\u003cem>SFJAZZ Center, San Francisco\u003c/em>\u003c/p>\n\u003cp>Last year, Oakland tenor saxophonist and SFJAZZ resident artistic director Howard Wiley brought a sold-out crowd to its feet in a concert celebrating the music of the Golden State. (A medley of “Hotel California” and “California Love”? Check.) This year he brings that beat back with its sequel, subtitled “Love, Kale, Pride and Revolution,” with a group including organist Lionel “LJ” Holoman and trombonist Robin Eubanks, plus a handful of Bay Area all-stars. If you’ve been meaning to introduce a date to the thrill and energy of live jazz, you can’t go wrong here.\u003c/p>\n\u003cfigure id=\"attachment_13976347\" class=\"wp-caption aligncenter\" style=\"max-width: 963px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/trio.jpg\" alt=\"\" width=\"963\" height=\"542\" class=\"size-full wp-image-13976347\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/trio.jpg 963w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/trio-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/trio-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/trio-768x432.jpg 768w\" sizes=\"auto, (max-width: 963px) 100vw, 963px\">\u003cfigcaption class=\"wp-caption-text\">LMNts Trio. \u003ccite>(Center for New Music)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://centerfornewmusic.com/event/lmnts-trio-aaron-bennett/\">LMNts Trio with Aaron Bennett\u003c/a>\u003c/h2>\n\u003cp>\u003cem>May 31, 2025\u003c/em>\u003cbr>\n\u003cem>Center for New Music, San Francisco\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>If you’re feeling adventurous with $15 in your pocket, here’s your opportunity for radical exploration. The LMNts Trio evokes the form-fluid free jazz of labels like ESP-Disk with Scott R. Looney on prepared piano and electronics, Lisa Mezzacapa on bass and Kjell Nordeson on percussion. Add into the mix saxophonist Aaron Bennett, steeped in jazz standards and Thelonious Monk, and there’s no telling what could happen. That’s the fun of it, isn’t it? \u003c/p>\n\u003cfigure id=\"attachment_13976348\" class=\"wp-caption aligncenter\" style=\"max-width: 872px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/63_Original.png\" alt=\"\" width=\"872\" height=\"584\" class=\"size-full wp-image-13976348\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/63_Original.png 872w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/63_Original-800x536.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/63_Original-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/63_Original-768x514.png 768w\" sizes=\"auto, (max-width: 872px) 100vw, 872px\">\u003cfigcaption class=\"wp-caption-text\">Takuya Koroda. \u003ccite>(Artist photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://thenewparish.com/tm-event/takuya-kuroda/\">Takuya Koroda\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 6, 2025\u003c/em>\u003cbr>\n\u003cem>The New Parish, Oakland \u003c/em>\u003c/p>\n\u003cp>Born in Kobe and now living in Brooklyn, Takuya Koroda is Japan’s answer to Roy Hargrove: a little bit of fusion, a little bit of post-bop, a little bit of hip-hop and a lot of invention. Having made a name for himself backing vocalist José James, Koroda has since recorded albums for Blue Note, Concord and Universal; his newest, \u003cem>Everyday\u003c/em>, is alive in all the right ways.\u003c/p>\n\u003cfigure id=\"attachment_13976349\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Sky-Quartet_2.jpg\" alt=\"\" width=\"2000\" height=\"1125\" class=\"size-full wp-image-13976349\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Sky-Quartet_2.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Sky-Quartet_2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Sky-Quartet_2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Sky-Quartet_2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Sky-Quartet_2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Sky-Quartet_2-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Sky-Quartet_2-1920x1080.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The Charles Lloyd Sky Quartet, with Eric Harland, Larry Grenadier and Jason Moran. \u003ccite>(D. Darr)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfjazz.org/tickets/productions/2025-summer/festival/overview/\">San Francisco Jazz Festival\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 13–15, 2025\u003c/em>\u003cbr>\n\u003cem>SFJAZZ Center and surrounding streets, San Francisco\u003c/em>\u003c/p>\n\u003cp>Charles Lloyd alone makes this first-year festival at SFJAZZ worth attending, but the rest of this completely bananas lineup is so exciting, it had no choice but to spill out onto the streets for a three-day block party — complete with food trucks, local DJs and wine and beer. With bona fide jazz legends (Patrice Rushen, Stanley Clarke, Gonzalo Rubalcaba, Dave Holland), hot, new up-and-comers (Lakecia Benjamin, Kassa Overall) and local stars (Ambrose Akinmusire, Salami Rose Joe Louis, Idris Ackamoor), it’s the must-see jazz event of the summer in San Francisco.\u003c/p>\n\u003cfigure id=\"attachment_13976350\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/MG_1388croppedV2.jpg\" alt=\"\" width=\"2000\" height=\"1409\" class=\"size-full wp-image-13976350\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/MG_1388croppedV2.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/MG_1388croppedV2-800x564.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/MG_1388croppedV2-1020x719.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/MG_1388croppedV2-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/MG_1388croppedV2-768x541.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/MG_1388croppedV2-1536x1082.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/MG_1388croppedV2-1920x1353.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Diane Reeves. \u003ccite>(Artist photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://healdsburgjazz.org/\">Healdsburg Jazz Festival\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 13–22, 2025\u003c/em>\u003cbr>\n\u003cem>Various venues, Healdsburg\u003c/em>\u003c/p>\n\u003cp>The best of the Bay Area’s small-town jazz festivals hosts big names in intimate environs. This year it’s vocalist Diane Reeves, pianist Kenny Barron, drummer Terri Lynne Carrington, trumpeter Nicholas Payton and more. Under the direction of Marcus Shelby, regional artists get plenty of time in the wine country sunshine as well. Pro tip: The free Juneteenth concert in the town plaza couldn’t embody the festival spirit more, and Jason Moran’s tribute to Ellington — with Shelby and his orchestra — is essential.\u003c/p>\n\u003cfigure id=\"attachment_13976351\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Jovino-Santos-Neto-by-Daniel-Sheehan-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1707\" class=\"size-full wp-image-13976351\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Jovino-Santos-Neto-by-Daniel-Sheehan-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Jovino-Santos-Neto-by-Daniel-Sheehan-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Jovino-Santos-Neto-by-Daniel-Sheehan-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Jovino-Santos-Neto-by-Daniel-Sheehan-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Jovino-Santos-Neto-by-Daniel-Sheehan-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Jovino-Santos-Neto-by-Daniel-Sheehan-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Jovino-Santos-Neto-by-Daniel-Sheehan-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Jovino-Santos-Neto-by-Daniel-Sheehan-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Jovino Santos Neto. \u003ccite>(Daniel Sheehan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://tickets.blackcatsf.com/r/jovino-santos-neto\">Jovino Santos Neto\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 26–29, 2025\u003c/em>\u003cbr>\n\u003cem>The Black Cat, San Francisco\u003c/em>\u003c/p>\n\u003cp>Now 70 years old, Jovino Santos Neto is playing as well as ever, and the basement confines of San Francisco’s classic, straight-out-of-the-movies jazz club should caress something special out of the Brazilian musician for this four-night residency. The multi-instrumentalist began performing at age 16 before a long run with Hermeto Pascal’s band; his talent and experience both emanate from his rarified music. \u003c/p>\n\u003cfigure id=\"attachment_13976352\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/ambolley.jpg\" alt=\"\" width=\"1000\" height=\"667\" class=\"size-full wp-image-13976352\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/ambolley.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/ambolley-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/ambolley-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/ambolley-768x512.jpg 768w\" sizes=\"auto, (max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">Gyedu-Blay Ambolley. \u003ccite>(Artist photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.jazzisdead.com/uploadevents/gyedu-blay-ambolley\">Gyedu-Blay Ambolley\u003c/a>\u003c/h2>\n\u003cp>\u003cem>July 18, 2025\u003c/em>\u003cbr>\n\u003cem>Cornerstone, Berkeley\u003c/em>\u003c/p>\n\u003cp>Hailing from Ghana, Gyedu-Bley Ambolly has released nearly 30 albums — but none so revered as his 1975 debut \u003cem>Simigiwa\u003c/em>. Mixing West African highlife with James Brown, Ambolley offered a Fela Kuti-esque vision of the world and, in the process, inadvertently created a roadmap for hip-hop. For its 50th anniversary, Ambolley plays the album in its entirety in Berkeley with an eight-piece band.\u003c/p>\n\u003cfigure id=\"attachment_13976353\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/peteescovedo.jpg\" alt=\"\" width=\"2000\" height=\"1553\" class=\"size-full wp-image-13976353\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/peteescovedo.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/peteescovedo-800x621.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/peteescovedo-1020x792.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/peteescovedo-160x124.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/peteescovedo-768x596.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/peteescovedo-1536x1193.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/peteescovedo-1920x1491.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Pete Escovedo. \u003ccite>(Courtesy Yoshi's)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://yoshis.com/events/buy-tickets/pete-escovedo-orchestra-birthday-celebration-5/detail\">Pete Escovedo 90th Birthday Celebration\u003c/a>\u003c/h2>\n\u003cp>\u003cem>July 25–27, 2025\u003c/em>\u003cbr>\n\u003cem>Yoshi’s, Oakland \u003c/em>\u003c/p>\n\u003cp>Between his own music, his time in the groups Santana and Azteca, and his running of the 1990s jazz club Mr. E’s, there’s no underestimating the contributions of Pete Escovedo to Latin jazz. There’s also no underestimating the stature of the percussionist’s family, either, who’ll be on hand to give their patriarch a much-deserved musical celebration in their hometown. Though no lineup for the six-show residency has been formally announced, daughter Sheila E. and sons Juan and Peter III would be natural special guests for this family affair. \u003c/p>\n\u003cfigure id=\"attachment_13976355\" class=\"wp-caption aligncenter\" style=\"max-width: 1374px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/RichieRich.MacMall.jpg\" alt=\"\" width=\"1374\" height=\"1028\" class=\"size-full wp-image-13976355\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/RichieRich.MacMall.jpg 1374w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/RichieRich.MacMall-800x599.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/RichieRich.MacMall-1020x763.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/RichieRich.MacMall-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/RichieRich.MacMall-768x575.jpg 768w\" sizes=\"auto, (max-width: 1374px) 100vw, 1374px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Richie Rich and Mac Mall. \u003ccite>(Jason Hayes (\u003ca href=\"https://www.instagram.com/j.castae/\">J.Castae\u003c/a> / Artist photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://yoshis.com/events/buy-tickets/richie-rich-2/detail\">Richie Rich\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Aug. 1 and 2, 2025\u003c/em>\u003c/p>\n\u003ch2>\u003ca href=\"https://yoshis.com/events/buy-tickets/mac-mall/detail\">Mac Mall\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Aug. 10, 2025\u003c/em>\u003cbr>\n\u003cem>Yoshi’s, Oakland\u003c/em>\u003c/p>\n\u003cp>Among the more welcome developments in jazz clubs is the gradual migration of jazz’s natural lineage onto the stage: rap artists, performing with a live band. Yoshi’s in Oakland has been at the forefront of this trend, hosting thrilling shows with national artists like Scarface, Rakim and DJ Quik. This summer, local rap icons Richie Rich and Mac Mall both hit the club with a live band for a week of shows to remind you just how skilled and charismatic these two Bay legends are.\u003c/p>\n\u003cfigure id=\"attachment_13903773\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1166270592.jpg\" alt=\"\" width=\"1024\" height=\"683\" class=\"size-full wp-image-13903773\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1166270592.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1166270592-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1166270592-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1166270592-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1166270592-768x512.jpg 768w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Mavis Staples in 2019. \u003ccite>(Mike Lawrie/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://summerfest.sanjosejazz.org/\">San Jose Jazz Summer Fest\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Aug 8–10, 2025\u003c/em>\u003cbr>\n\u003cem>Downtown San Jose \u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>It’s not summer in San Jose without this fantastic weekend festival, an annual tradition which takes over downtown San Jose and its scenic César Chávez Plaza. With headliners Mavis Staples, Common, Femi Kuti, Butcher Brown and Bilal — and over 100 artists total — the festival sprawls across nine stages to fill the downtown air with top-notch music and vibes that, sare we say, are immaculate. \u003c/p>\n\n",
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"excerpt": "A new street festival, international touring acts and local favorites round out a syncopated summer.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cb>\u003ci>Be sure to check out our full \u003ca href=\"https://www.kqed.org/arts/tag/summer-guide-2025\">2025 Summer Arts Guide to live music, movies, art, theater, festivals and more\u003c/a> in the Bay Area.\u003c/i>\u003c/b>\u003c/p>\n\u003cp>It’s an unpredictable summer, folks. Some find escape in \u003ca href=\"https://www.kqed.org/arts/13975778/summer-concerts-music-festivals-bay-area-san-francisco-napa-oakland\">music festivals\u003c/a> or \u003ca href=\"https://www.kqed.org/arts/13976207/bay-area-summer-djing-glass-blowing-ceramics-sewing-gardening\">hands-on diversions\u003c/a>, while I’ve always gotten lost in jazz — especially live jazz, and its beautiful reshaping of the world and one’s self in it. \u003c/p>\n\u003cp>Here are 10 excellent jazz shows in the Bay Area this summer.\u003c/p>\n\u003cfigure id=\"attachment_13976346\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/howardwiley.courtesy.jpg\" alt=\"\" width=\"1920\" height=\"1081\" class=\"size-full wp-image-13976346\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/howardwiley.courtesy.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/howardwiley.courtesy-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/howardwiley.courtesy-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/howardwiley.courtesy-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/howardwiley.courtesy-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/howardwiley.courtesy-1536x865.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Howard Wiley. \u003ccite>(Artist photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfjazz.org/tickets/productions/24-25/howard-wiley/\">Howard Wiley’s ‘California Love Pt. II’\u003c/a>\u003c/h2>\n\u003cp>\u003cem>May 24, 2025\u003c/em>\u003cbr>\n\u003cem>SFJAZZ Center, San Francisco\u003c/em>\u003c/p>\n\u003cp>Last year, Oakland tenor saxophonist and SFJAZZ resident artistic director Howard Wiley brought a sold-out crowd to its feet in a concert celebrating the music of the Golden State. (A medley of “Hotel California” and “California Love”? Check.) This year he brings that beat back with its sequel, subtitled “Love, Kale, Pride and Revolution,” with a group including organist Lionel “LJ” Holoman and trombonist Robin Eubanks, plus a handful of Bay Area all-stars. If you’ve been meaning to introduce a date to the thrill and energy of live jazz, you can’t go wrong here.\u003c/p>\n\u003cfigure id=\"attachment_13976347\" class=\"wp-caption aligncenter\" style=\"max-width: 963px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/trio.jpg\" alt=\"\" width=\"963\" height=\"542\" class=\"size-full wp-image-13976347\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/trio.jpg 963w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/trio-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/trio-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/trio-768x432.jpg 768w\" sizes=\"auto, (max-width: 963px) 100vw, 963px\">\u003cfigcaption class=\"wp-caption-text\">LMNts Trio. \u003ccite>(Center for New Music)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://centerfornewmusic.com/event/lmnts-trio-aaron-bennett/\">LMNts Trio with Aaron Bennett\u003c/a>\u003c/h2>\n\u003cp>\u003cem>May 31, 2025\u003c/em>\u003cbr>\n\u003cem>Center for New Music, San Francisco\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>If you’re feeling adventurous with $15 in your pocket, here’s your opportunity for radical exploration. The LMNts Trio evokes the form-fluid free jazz of labels like ESP-Disk with Scott R. Looney on prepared piano and electronics, Lisa Mezzacapa on bass and Kjell Nordeson on percussion. Add into the mix saxophonist Aaron Bennett, steeped in jazz standards and Thelonious Monk, and there’s no telling what could happen. That’s the fun of it, isn’t it? \u003c/p>\n\u003cfigure id=\"attachment_13976348\" class=\"wp-caption aligncenter\" style=\"max-width: 872px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/63_Original.png\" alt=\"\" width=\"872\" height=\"584\" class=\"size-full wp-image-13976348\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/63_Original.png 872w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/63_Original-800x536.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/63_Original-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/63_Original-768x514.png 768w\" sizes=\"auto, (max-width: 872px) 100vw, 872px\">\u003cfigcaption class=\"wp-caption-text\">Takuya Koroda. \u003ccite>(Artist photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://thenewparish.com/tm-event/takuya-kuroda/\">Takuya Koroda\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 6, 2025\u003c/em>\u003cbr>\n\u003cem>The New Parish, Oakland \u003c/em>\u003c/p>\n\u003cp>Born in Kobe and now living in Brooklyn, Takuya Koroda is Japan’s answer to Roy Hargrove: a little bit of fusion, a little bit of post-bop, a little bit of hip-hop and a lot of invention. Having made a name for himself backing vocalist José James, Koroda has since recorded albums for Blue Note, Concord and Universal; his newest, \u003cem>Everyday\u003c/em>, is alive in all the right ways.\u003c/p>\n\u003cfigure id=\"attachment_13976349\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Sky-Quartet_2.jpg\" alt=\"\" width=\"2000\" height=\"1125\" class=\"size-full wp-image-13976349\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Sky-Quartet_2.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Sky-Quartet_2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Sky-Quartet_2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Sky-Quartet_2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Sky-Quartet_2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Sky-Quartet_2-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Sky-Quartet_2-1920x1080.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The Charles Lloyd Sky Quartet, with Eric Harland, Larry Grenadier and Jason Moran. \u003ccite>(D. Darr)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfjazz.org/tickets/productions/2025-summer/festival/overview/\">San Francisco Jazz Festival\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 13–15, 2025\u003c/em>\u003cbr>\n\u003cem>SFJAZZ Center and surrounding streets, San Francisco\u003c/em>\u003c/p>\n\u003cp>Charles Lloyd alone makes this first-year festival at SFJAZZ worth attending, but the rest of this completely bananas lineup is so exciting, it had no choice but to spill out onto the streets for a three-day block party — complete with food trucks, local DJs and wine and beer. With bona fide jazz legends (Patrice Rushen, Stanley Clarke, Gonzalo Rubalcaba, Dave Holland), hot, new up-and-comers (Lakecia Benjamin, Kassa Overall) and local stars (Ambrose Akinmusire, Salami Rose Joe Louis, Idris Ackamoor), it’s the must-see jazz event of the summer in San Francisco.\u003c/p>\n\u003cfigure id=\"attachment_13976350\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/MG_1388croppedV2.jpg\" alt=\"\" width=\"2000\" height=\"1409\" class=\"size-full wp-image-13976350\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/MG_1388croppedV2.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/MG_1388croppedV2-800x564.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/MG_1388croppedV2-1020x719.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/MG_1388croppedV2-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/MG_1388croppedV2-768x541.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/MG_1388croppedV2-1536x1082.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/MG_1388croppedV2-1920x1353.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Diane Reeves. \u003ccite>(Artist photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://healdsburgjazz.org/\">Healdsburg Jazz Festival\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 13–22, 2025\u003c/em>\u003cbr>\n\u003cem>Various venues, Healdsburg\u003c/em>\u003c/p>\n\u003cp>The best of the Bay Area’s small-town jazz festivals hosts big names in intimate environs. This year it’s vocalist Diane Reeves, pianist Kenny Barron, drummer Terri Lynne Carrington, trumpeter Nicholas Payton and more. Under the direction of Marcus Shelby, regional artists get plenty of time in the wine country sunshine as well. Pro tip: The free Juneteenth concert in the town plaza couldn’t embody the festival spirit more, and Jason Moran’s tribute to Ellington — with Shelby and his orchestra — is essential.\u003c/p>\n\u003cfigure id=\"attachment_13976351\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Jovino-Santos-Neto-by-Daniel-Sheehan-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1707\" class=\"size-full wp-image-13976351\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Jovino-Santos-Neto-by-Daniel-Sheehan-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Jovino-Santos-Neto-by-Daniel-Sheehan-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Jovino-Santos-Neto-by-Daniel-Sheehan-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Jovino-Santos-Neto-by-Daniel-Sheehan-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Jovino-Santos-Neto-by-Daniel-Sheehan-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Jovino-Santos-Neto-by-Daniel-Sheehan-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Jovino-Santos-Neto-by-Daniel-Sheehan-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Jovino-Santos-Neto-by-Daniel-Sheehan-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Jovino Santos Neto. \u003ccite>(Daniel Sheehan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://tickets.blackcatsf.com/r/jovino-santos-neto\">Jovino Santos Neto\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 26–29, 2025\u003c/em>\u003cbr>\n\u003cem>The Black Cat, San Francisco\u003c/em>\u003c/p>\n\u003cp>Now 70 years old, Jovino Santos Neto is playing as well as ever, and the basement confines of San Francisco’s classic, straight-out-of-the-movies jazz club should caress something special out of the Brazilian musician for this four-night residency. The multi-instrumentalist began performing at age 16 before a long run with Hermeto Pascal’s band; his talent and experience both emanate from his rarified music. \u003c/p>\n\u003cfigure id=\"attachment_13976352\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/ambolley.jpg\" alt=\"\" width=\"1000\" height=\"667\" class=\"size-full wp-image-13976352\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/ambolley.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/ambolley-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/ambolley-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/ambolley-768x512.jpg 768w\" sizes=\"auto, (max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">Gyedu-Blay Ambolley. \u003ccite>(Artist photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.jazzisdead.com/uploadevents/gyedu-blay-ambolley\">Gyedu-Blay Ambolley\u003c/a>\u003c/h2>\n\u003cp>\u003cem>July 18, 2025\u003c/em>\u003cbr>\n\u003cem>Cornerstone, Berkeley\u003c/em>\u003c/p>\n\u003cp>Hailing from Ghana, Gyedu-Bley Ambolly has released nearly 30 albums — but none so revered as his 1975 debut \u003cem>Simigiwa\u003c/em>. Mixing West African highlife with James Brown, Ambolley offered a Fela Kuti-esque vision of the world and, in the process, inadvertently created a roadmap for hip-hop. For its 50th anniversary, Ambolley plays the album in its entirety in Berkeley with an eight-piece band.\u003c/p>\n\u003cfigure id=\"attachment_13976353\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/peteescovedo.jpg\" alt=\"\" width=\"2000\" height=\"1553\" class=\"size-full wp-image-13976353\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/peteescovedo.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/peteescovedo-800x621.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/peteescovedo-1020x792.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/peteescovedo-160x124.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/peteescovedo-768x596.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/peteescovedo-1536x1193.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/peteescovedo-1920x1491.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Pete Escovedo. \u003ccite>(Courtesy Yoshi's)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://yoshis.com/events/buy-tickets/pete-escovedo-orchestra-birthday-celebration-5/detail\">Pete Escovedo 90th Birthday Celebration\u003c/a>\u003c/h2>\n\u003cp>\u003cem>July 25–27, 2025\u003c/em>\u003cbr>\n\u003cem>Yoshi’s, Oakland \u003c/em>\u003c/p>\n\u003cp>Between his own music, his time in the groups Santana and Azteca, and his running of the 1990s jazz club Mr. E’s, there’s no underestimating the contributions of Pete Escovedo to Latin jazz. There’s also no underestimating the stature of the percussionist’s family, either, who’ll be on hand to give their patriarch a much-deserved musical celebration in their hometown. Though no lineup for the six-show residency has been formally announced, daughter Sheila E. and sons Juan and Peter III would be natural special guests for this family affair. \u003c/p>\n\u003cfigure id=\"attachment_13976355\" class=\"wp-caption aligncenter\" style=\"max-width: 1374px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/RichieRich.MacMall.jpg\" alt=\"\" width=\"1374\" height=\"1028\" class=\"size-full wp-image-13976355\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/RichieRich.MacMall.jpg 1374w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/RichieRich.MacMall-800x599.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/RichieRich.MacMall-1020x763.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/RichieRich.MacMall-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/RichieRich.MacMall-768x575.jpg 768w\" sizes=\"auto, (max-width: 1374px) 100vw, 1374px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Richie Rich and Mac Mall. \u003ccite>(Jason Hayes (\u003ca href=\"https://www.instagram.com/j.castae/\">J.Castae\u003c/a> / Artist photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://yoshis.com/events/buy-tickets/richie-rich-2/detail\">Richie Rich\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Aug. 1 and 2, 2025\u003c/em>\u003c/p>\n\u003ch2>\u003ca href=\"https://yoshis.com/events/buy-tickets/mac-mall/detail\">Mac Mall\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Aug. 10, 2025\u003c/em>\u003cbr>\n\u003cem>Yoshi’s, Oakland\u003c/em>\u003c/p>\n\u003cp>Among the more welcome developments in jazz clubs is the gradual migration of jazz’s natural lineage onto the stage: rap artists, performing with a live band. Yoshi’s in Oakland has been at the forefront of this trend, hosting thrilling shows with national artists like Scarface, Rakim and DJ Quik. This summer, local rap icons Richie Rich and Mac Mall both hit the club with a live band for a week of shows to remind you just how skilled and charismatic these two Bay legends are.\u003c/p>\n\u003cfigure id=\"attachment_13903773\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1166270592.jpg\" alt=\"\" width=\"1024\" height=\"683\" class=\"size-full wp-image-13903773\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1166270592.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1166270592-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1166270592-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1166270592-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1166270592-768x512.jpg 768w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Mavis Staples in 2019. \u003ccite>(Mike Lawrie/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://summerfest.sanjosejazz.org/\">San Jose Jazz Summer Fest\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Aug 8–10, 2025\u003c/em>\u003cbr>\n\u003cem>Downtown San Jose \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s not summer in San Jose without this fantastic weekend festival, an annual tradition which takes over downtown San Jose and its scenic César Chávez Plaza. With headliners Mavis Staples, Common, Femi Kuti, Butcher Brown and Bilal — and over 100 artists total — the festival sprawls across nine stages to fill the downtown air with top-notch music and vibes that, sare we say, are immaculate. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "rightnowishs-grand-finale-words-of-wisdom-from-timothy-b",
"title": "Rightnowish’s Grand Finale: Words of Wisdom from Timothy B.",
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"headTitle": "Rightnowish’s Grand Finale: Words of Wisdom from Timothy B. | KQED",
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"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",
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"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>",
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"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",
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"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>",
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"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",
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"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>",
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"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>",
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"slug": "ruby-ibarra-npr-tiny-desk-contest-winner-bay-area",
"title": "The Bay Area’s Own Ruby Ibarra Is the Winner of NPR’s Tiny Desk Contest",
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"headTitle": "The Bay Area’s Own Ruby Ibarra Is the Winner of NPR’s Tiny Desk Contest | KQED",
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"content": "\u003cfigure id=\"attachment_13976107\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13976107\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/rubyv1-Gino-Lucas.jpg\" alt=\"A young Filipina woman in a silver top leans over a shiny green surface, her reflection visible\" width=\"2000\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/rubyv1-Gino-Lucas.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/rubyv1-Gino-Lucas-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/rubyv1-Gino-Lucas-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/rubyv1-Gino-Lucas-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/rubyv1-Gino-Lucas-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/rubyv1-Gino-Lucas-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/rubyv1-Gino-Lucas-1920x1920.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Growing up in San Lorenzo, 2025 Tiny Desk Contest winner Ruby Ibarra was exposed to a steady stream of Bay Area rap from artists like E-40 and Hieroglyphics. \u003ccite>(Gino Lucas)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The winner of NPR’s 2025 Tiny Desk Contest is the Bay Area’s own \u003ca href=\"https://www.kqed.org/arts/tag/ruby-ibarra\" target=\"_blank\" rel=\"noopener\">Ruby Ibarra\u003c/a>.\u003c/p>\n\u003cp>A \u003ca href=\"https://www.kqed.org/arts/13887169/whats-on-your-ballot-ruby-ibarra-rapper-and-scientist\">research scientist\u003c/a> and fiercely poetic lyricist raised in San Lorenzo, Ibarra raps in English alongside the Filipino languages of Tagalog and Bisaya. Her Tiny Desk Contest-winning track, “\u003ca href=\"https://www.youtube.com/watch?v=IBOPNgYJ9_w\">Bakunawa\u003c/a>,” was inspired by the dragon-like serpent of Philippine mythology.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=IBOPNgYJ9_w\u003c/p>\n\u003cp>Ibarra sees the Bakunawa and its \u003ca href=\"https://en.wikipedia.org/wiki/Bakunawa\">banishment from society\u003c/a> as a metaphor for the way that Filipino history, art and culture as a whole is often shunned and cast aside by the mainstream.\u003c/p>\n\u003cp>“I just wanted to flip that story,” Ibarra tells KQED. “And this time around, with this song, I wanted to embody the Bakunawa itself.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postID='arts_13887169']The track’s guest artists \u003ca href=\"https://www.instagram.com/sfduchess/\" target=\"_blank\" rel=\"noopener\">Ouida\u003c/a>, \u003ca href=\"https://www.instagram.com/indayhan/\" target=\"_blank\" rel=\"noopener\">Han Han\u003c/a> and \u003ca href=\"https://www.instagram.com/manilajune/\" target=\"_blank\" rel=\"noopener\">June Millington\u003c/a> (of the pioneering all-female rock band \u003ca href=\"https://www.kqed.org/news/11949142/buried-without-a-trace-the-all-female-rock-group-youve-probably-never-heard\">Fanny\u003c/a>) tap into their own inner mythological creature, expressing their powers through musicianship.\u003c/p>\n\u003cp>Behind the scenes, Ibarra was pregnant while filming the music video for “Bakunawa.” She gave birth to her first child in 2024, the Year of the Dragon. “My daughter,” Ibarra says, “she is my baby dragon, she is my revolution, she is my power.”\u003c/p>\n\u003cp>“Bakunawa” anchors Ibarra’s upcoming album, the release of which will coincide with a 10-show tour. But first, she has to go to Washington D.C. to perform at NPR’s Tiny Desk.\u003c/p>\n\u003cfigure id=\"attachment_13976112\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13976112\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/ruby-1-2-Gino-Lucas.jpg\" alt=\"\" width=\"1600\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/ruby-1-2-Gino-Lucas.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/ruby-1-2-Gino-Lucas-800x1000.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/ruby-1-2-Gino-Lucas-1020x1275.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/ruby-1-2-Gino-Lucas-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/ruby-1-2-Gino-Lucas-768x960.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/ruby-1-2-Gino-Lucas-1229x1536.jpg 1229w\" sizes=\"auto, (max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">Ruby Ibarra. \u003ccite>(Gino Lucas)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Giving me goosebumps’\u003c/h2>\n\u003cp>When she learned that she won this year’s contest, Ibarra was so surprised that she started crying and her hands started shaking.\u003c/p>\n\u003cp>“I will say, that typically does not happen to me,” Ibarra says, adding that she’s usually calm and composed. “I think that alone really tells you how much excitement and joy it brought to me.”\u003c/p>\n\u003cp>[aside postID='arts_13905208']Born in the Philippines and raised in the East Bay, Ibarra has been around hip-hop for as long as she can remember. E-40, Hieroglyphics, Lauryn Hill and the late Filipino rapper Francis Magalona were all influences on Ibarra, who started rapping professionally in 2016. She dropped her first album \u003cem>Circa ’91\u003c/em> a year later, and entered the Tiny Desk Contest in 2019 with \u003ca href=\"https://www.kqed.org/arts/13860137/this-tiny-desk-contestant-rapped-a-love-letter-to-her-immigrant-mother\">an attention-grabbing ode to her immigrant mother\u003c/a>.\u003c/p>\n\u003cp>In 2021, she stepped away from her career as \u003ca href=\"https://www.today.com/tmrw/vaccine-scientist-day-rapper-night-how-ruby-ibarra-defying-stereotypes-t218167\" target=\"_blank\" rel=\"noopener\">a research scientist\u003c/a> to pursue music full-time. In 2023, along with Ouida, she \u003ca href=\"https://www.kqed.org/arts/13938866/ruby-ibarras-new-record-label-comes-out-swinging\">cofounded\u003c/a> a Bay Area-based indie collective, \u003ca href=\"https://www.bolomusicgroup.com/\" target=\"_blank\" rel=\"noopener\">BOLO Music Group\u003c/a>.\u003c/p>\n\u003cp>Her music has appeared on Fox’s \u003cem>The Cleaning Lady\u003c/em> as well as the soundtracks for the NBA2K23 and NBA2K24 video games.\u003c/p>\n\u003cfigure id=\"attachment_13976005\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13976005\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/GettyImages-2059247696.jpg\" alt=\"A young FIlipina woman in a beanie and mesh top holds a microphone at a custom-lit party\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/GettyImages-2059247696.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/GettyImages-2059247696-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/GettyImages-2059247696-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/GettyImages-2059247696-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/GettyImages-2059247696-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/GettyImages-2059247696-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/GettyImages-2059247696-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Ruby Ibarra guest stars in ‘The Cleaning Lady’ during a March 12, 2024 episode, rapping “Pilipino ako sa gawa, Pilipino sa mga mata (I am Filipino by action, Filipino in the eyes).” \u003ccite>(FOX via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Now, with this opportunity to bring her art, Filipina heritage and Bay Area culture to the world via NPR’s Tiny Desk, Ibarra joins a long list of legendary artists with humility and appreciation.\u003c/p>\n\u003cp>“To be there in a few weeks,” she says, “it’s giving me goosebumps.”\u003c/p>\n\u003cp>Ultimately, she sees it as another way to showcase the diverse culture and creativity that emanated from the Bay Area.\u003c/p>\n\u003cp>“There’s so much talent here,” she says. “I’m just excited to put on for the Bay.”\u003c/p>\n\u003chr>\n\u003cp>\u003cem>Ruby Ibarra headlines NPR’s ‘Tiny Desk on the Road’ tour with \u003ca href=\"https://www.eventbrite.com/e/npr-music-presents-tiny-desk-contest-on-the-road-lagunitas-petaluma-tickets-1325707941139?aff=oddtdtcreator\">a Bay Area show on June 13 at Lagunitas Brewing Co.\u003c/a> in Petaluma. \u003ca href=\"https://tinydeskcontest.npr.org/2025/tour-page/\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Learn more about Ruby Ibarra at \u003ca href=\"https://www.rubyibarra.com/\">her official website\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/tag/ruby-ibarra\">in KQED’s own archives\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The track’s guest artists \u003ca href=\"https://www.instagram.com/sfduchess/\" target=\"_blank\" rel=\"noopener\">Ouida\u003c/a>, \u003ca href=\"https://www.instagram.com/indayhan/\" target=\"_blank\" rel=\"noopener\">Han Han\u003c/a> and \u003ca href=\"https://www.instagram.com/manilajune/\" target=\"_blank\" rel=\"noopener\">June Millington\u003c/a> (of the pioneering all-female rock band \u003ca href=\"https://www.kqed.org/news/11949142/buried-without-a-trace-the-all-female-rock-group-youve-probably-never-heard\">Fanny\u003c/a>) tap into their own inner mythological creature, expressing their powers through musicianship.\u003c/p>\n\u003cp>Behind the scenes, Ibarra was pregnant while filming the music video for “Bakunawa.” She gave birth to her first child in 2024, the Year of the Dragon. “My daughter,” Ibarra says, “she is my baby dragon, she is my revolution, she is my power.”\u003c/p>\n\u003cp>“Bakunawa” anchors Ibarra’s upcoming album, the release of which will coincide with a 10-show tour. But first, she has to go to Washington D.C. to perform at NPR’s Tiny Desk.\u003c/p>\n\u003cfigure id=\"attachment_13976112\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13976112\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/ruby-1-2-Gino-Lucas.jpg\" alt=\"\" width=\"1600\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/ruby-1-2-Gino-Lucas.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/ruby-1-2-Gino-Lucas-800x1000.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/ruby-1-2-Gino-Lucas-1020x1275.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/ruby-1-2-Gino-Lucas-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/ruby-1-2-Gino-Lucas-768x960.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/ruby-1-2-Gino-Lucas-1229x1536.jpg 1229w\" sizes=\"auto, (max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">Ruby Ibarra. \u003ccite>(Gino Lucas)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Giving me goosebumps’\u003c/h2>\n\u003cp>When she learned that she won this year’s contest, Ibarra was so surprised that she started crying and her hands started shaking.\u003c/p>\n\u003cp>“I will say, that typically does not happen to me,” Ibarra says, adding that she’s usually calm and composed. “I think that alone really tells you how much excitement and joy it brought to me.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Born in the Philippines and raised in the East Bay, Ibarra has been around hip-hop for as long as she can remember. E-40, Hieroglyphics, Lauryn Hill and the late Filipino rapper Francis Magalona were all influences on Ibarra, who started rapping professionally in 2016. She dropped her first album \u003cem>Circa ’91\u003c/em> a year later, and entered the Tiny Desk Contest in 2019 with \u003ca href=\"https://www.kqed.org/arts/13860137/this-tiny-desk-contestant-rapped-a-love-letter-to-her-immigrant-mother\">an attention-grabbing ode to her immigrant mother\u003c/a>.\u003c/p>\n\u003cp>In 2021, she stepped away from her career as \u003ca href=\"https://www.today.com/tmrw/vaccine-scientist-day-rapper-night-how-ruby-ibarra-defying-stereotypes-t218167\" target=\"_blank\" rel=\"noopener\">a research scientist\u003c/a> to pursue music full-time. In 2023, along with Ouida, she \u003ca href=\"https://www.kqed.org/arts/13938866/ruby-ibarras-new-record-label-comes-out-swinging\">cofounded\u003c/a> a Bay Area-based indie collective, \u003ca href=\"https://www.bolomusicgroup.com/\" target=\"_blank\" rel=\"noopener\">BOLO Music Group\u003c/a>.\u003c/p>\n\u003cp>Her music has appeared on Fox’s \u003cem>The Cleaning Lady\u003c/em> as well as the soundtracks for the NBA2K23 and NBA2K24 video games.\u003c/p>\n\u003cfigure id=\"attachment_13976005\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13976005\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/GettyImages-2059247696.jpg\" alt=\"A young FIlipina woman in a beanie and mesh top holds a microphone at a custom-lit party\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/GettyImages-2059247696.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/GettyImages-2059247696-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/GettyImages-2059247696-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/GettyImages-2059247696-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/GettyImages-2059247696-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/GettyImages-2059247696-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/GettyImages-2059247696-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Ruby Ibarra guest stars in ‘The Cleaning Lady’ during a March 12, 2024 episode, rapping “Pilipino ako sa gawa, Pilipino sa mga mata (I am Filipino by action, Filipino in the eyes).” \u003ccite>(FOX via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Now, with this opportunity to bring her art, Filipina heritage and Bay Area culture to the world via NPR’s Tiny Desk, Ibarra joins a long list of legendary artists with humility and appreciation.\u003c/p>\n\u003cp>“To be there in a few weeks,” she says, “it’s giving me goosebumps.”\u003c/p>\n\u003cp>Ultimately, she sees it as another way to showcase the diverse culture and creativity that emanated from the Bay Area.\u003c/p>\n\u003cp>“There’s so much talent here,” she says. “I’m just excited to put on for the Bay.”\u003c/p>\n\u003chr>\n\u003cp>\u003cem>Ruby Ibarra headlines NPR’s ‘Tiny Desk on the Road’ tour with \u003ca href=\"https://www.eventbrite.com/e/npr-music-presents-tiny-desk-contest-on-the-road-lagunitas-petaluma-tickets-1325707941139?aff=oddtdtcreator\">a Bay Area show on June 13 at Lagunitas Brewing Co.\u003c/a> in Petaluma. \u003ca href=\"https://tinydeskcontest.npr.org/2025/tour-page/\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Learn more about Ruby Ibarra at \u003ca href=\"https://www.rubyibarra.com/\">her official website\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/tag/ruby-ibarra\">in KQED’s own archives\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>On the afternoon of May 2, when arts nonprofits across the country began receiving news that their grants from the National Endowment for the Arts were \u003ca href=\"https://www.kqed.org/arts/13975661/national-endowment-for-the-arts-grants-canceled-nonprofits\">terminated or withdrawn\u003c/a>, the \u003ca href=\"https://bavc.org/\">Bay Area Video Coalition\u003c/a> (BAVC) received not one, but \u003ci>three\u003c/i> emails.\u003c/p>\n\u003cp>The 49-year-old nonprofit, founded to encourage independent video-making in the Bay Area, has been awarded at least one NEA grant a year for over 20 years. 2025 was no exception: in January, the NEA awarded BAVC $100,000 to fund their emerging filmmaker fellowship and preservation program.\u003c/p>\n\u003cp>[aside postID='news_12039409']But like dozens of Bay Area arts nonprofits, the May 2 emails stated that BAVC’s projects no longer aligned with the NEA’s priorities, recently updated by President Donald Trump. They had seven calendar days to appeal the decision. \u003c/p>\n\u003cp>Executive Director Paula Smith Arrigoni says BAVC will appeal, but she feels torn about it. “We want to support BAVC and the sustainability of our organization, but trying to fit within these very narrow values that we do not adhere to also doesn’t feel great,” she told KQED. “So I have really low confidence that even through the appeal process, there will be remedies.”\u003c/p>\n\u003cfigure id=\"attachment_13975933\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/BavcaMediaMakerFellow_202318211_2000.jpg\" alt=\"group image of smiling people on stage\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13975933\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/BavcaMediaMakerFellow_202318211_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/BavcaMediaMakerFellow_202318211_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/BavcaMediaMakerFellow_202318211_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/BavcaMediaMakerFellow_202318211_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/BavcaMediaMakerFellow_202318211_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/BavcaMediaMakerFellow_202318211_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/BavcaMediaMakerFellow_202318211_2000-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Participants of the BAVC MediaMaker Fellowship and BAVC Media staff at the program’s culminating event at KQED in February 2024. \u003ccite>(Reflect Light Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s a refrain that has echoed across organizations large and small over the past week, reflecting \u003ca href=\"https://docs.google.com/spreadsheets/d/1CVVped70_dxEm_HgLpAAy_wV_3HPsdOAJIU-FiJ_e0c/edit?gid=0#gid=0\">the sheer number of nonprofits\u003c/a> who’ve counted on the NEA, and who are now the victims of an all-out arts bloodbath by the Trump administration under the guise of eliminating waste.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In 2024, the NEA budget was $207 million, .003% of the federal budget. \u003c/p>\n\u003cp>Chances are, nearly every arts nonprofit you know and enjoy is touched by the NEA. The awards have funded a Spanish-language film series at the \u003ca href=\"https://www.kqed.org/arts/tag/roxie-theater\">Roxie\u003c/a>, design and building workshops at \u003ca href=\"https://www.kqed.org/arts/tag/roxie-theater\">Girls Garage\u003c/a>, and a dance education program for elementary-school students at San José’s \u003ca href=\"https://newballet.com/\">New Ballet\u003c/a>. \u003c/p>\n\u003cp>“In many senses, the National Endowment for the Arts is a symbol as much as it is a funder,” says Tom Parrish, managing director of \u003ca href=\"https://www.kqed.org/arts/tag/berkeley-rep\">Berkeley Repertory Theatre\u003c/a>, which had a $40,000 grant withdrawn. “To have this support canceled is basically saying that we are no longer valued — that the arts are no longer valued in America.”\u003c/p>\n\u003ch2>Funding halted mid-projects\u003c/h2>\n\u003cp>For many NEA grant recipients, especially those who received grants in 2023 and 2024 and still had balances to spend, the May 2 termination emails were particularly cruel.\u003c/p>\n\u003cp>“For some of our colleagues,” Parrish told KQED, “they’ve already done the projects, or they’re in the middle of the projects.”\u003c/p>\n\u003cfigure id=\"attachment_13975939\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/SaadHadad_2000.jpg\" alt=\"orchestra rehearsal in large theater\" width=\"2000\" height=\"1500\" class=\"size-full wp-image-13975939\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/SaadHadad_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/SaadHadad_2000-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/SaadHadad_2000-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/SaadHadad_2000-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/SaadHadad_2000-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/SaadHadad_2000-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/SaadHadad_2000-1920x1440.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Saad Haddad in rehearsal with Donato Cabrera and the California Symphony for his composition, ‘Fantasia for Strings,’ which premiered March 22, 2025 at Walnut Creek’s Lesher Center for the Arts. \u003ccite>(Courtesy of California Symphony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The \u003ca href=\"https://www.californiasymphony.org/\">California Symphony\u003c/a>, for example, has only received half of its $20,000 NEA grant to support its three-year \u003ca href=\"https://www.californiasymphony.org/off-stage/for-artists/\">Young American Composer-in-Residence\u003c/a> program. Composer Saad Haddad will present his third and final composition next summer, in a program meant to celebrate the country’s 250th anniversary.\u003c/p>\n\u003cp>Donato Cabrera, artistic and music director of the California Symphony, notes that the anniversary \u003ci>is\u003c/i> one of the new priorities for NEA funding. “That’s the irony of it all,” he says, “let alone the fact the title of our program is Young American Composer-in-Residence — it feels rather in alignment.”\u003c/p>\n\u003cp>Despite the termination of the NEA grant, Cabrera says the symphony has no plans to stop the residency program, and will find a way, somehow, to pay for it. “It is well known amongst aspiring and young composers as one of the stepping stones that creates a career in composition in this country,” he says. “So we’re going to hold onto this program as tightly as we can.”\u003c/p>\n\u003cp>Many of the canceled NEA grants were meant to support artists at the beginning of their careers. At BAVC, the MediaMaker Fellowship is for emerging documentary filmmakers. \u003c/p>\n\u003cfigure id=\"attachment_13918389\" class=\"wp-caption aligncenter\" style=\"max-width: 1180px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/ainttooproud.jpeg\" alt=\"a group of men dressed as the Motown group the Temptations stand around a piano and sing\" width=\"1180\" height=\"664\" class=\"size-full wp-image-13918389\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/ainttooproud.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/ainttooproud-800x450.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/ainttooproud-1020x574.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/ainttooproud-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/ainttooproud-768x432.jpeg 768w\" sizes=\"auto, (max-width: 1180px) 100vw, 1180px\">\u003cfigcaption class=\"wp-caption-text\">A scene from The Temptations musical ‘Ain’t Too Proud,’ which made its world premiere at Berkeley Rep in 2017 before landing in New York City two years later. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Berkeley Rep’s $40,000 NEA grant was to support their incubator program, \u003ca href=\"https://www.berkeleyrep.org/the-ground-floor/\">The Ground Floor\u003c/a>. “Any loss of support impacts our pipeline of new plays,” Parrish says. “The Ground Floor has helped to support hundreds of projects and brought bold, innovative stories to life on our stages and across the country.”\u003c/p>\n\u003cp>\u003ci>Cult of Love\u003c/i>, \u003ci>Ain’t Too Proud\u003c/i>, \u003ci>American Idiot\u003c/i>, \u003ci>Hadestown\u003c/i> — all either went through the incubator program or premiered at Berkeley Rep.\u003c/p>\n\u003cp>This is the power of an NEA grant. It gives nonprofits the ability to take chances on the experimental, visionary projects that may not have commercial outlets. Grant funds mean artists get paid, audiences experience new work, and younger generations are supported in fields that need their fresh energy.\u003c/p>\n\u003ch2>What’s lost\u003c/h2>\n\u003cp>The NEA might not be the largest funding source for a nonprofit, but it can be the most prestigious.\u003c/p>\n\u003cp>“One of the really beautiful things about the NEA is that they’ve been very committed to funding smaller organizations,” Arrigoni says. Once a nonprofit has received an NEA grant, she adds, “you have this amazing stamp of approval.”\u003c/p>\n\u003cp>Sayre Batton, executive director of the \u003ca href=\"https://www.kqed.org/arts/tag/san-jose-museum-of-art\">San José Museum of Art\u003c/a>, agrees. “It has a multiplier effect,” she says. “I would say probably for every dollar from the NEA, we might be able to raise five or $10 more on a match.”\u003c/p>\n\u003cp>The SJMA was set to receive a $50,000 NEA grant this year, to support an exhibition and catalog for the work of \u003ca href=\"https://sjmusart.org/exhibition/pao-houa-her-imaginative-landscape\">Pao Houa Her\u003c/a>. That show opens July 11 at the museum and sites around the city.\u003c/p>\n\u003cfigure id=\"attachment_13975930\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/54207754387_4ee187a47f_k.jpg\" alt=\"real flowers in front of a faded photo backdrop of flowers\" width=\"2000\" height=\"1600\" class=\"size-full wp-image-13975930\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/54207754387_4ee187a47f_k.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/54207754387_4ee187a47f_k-800x640.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/54207754387_4ee187a47f_k-1020x816.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/54207754387_4ee187a47f_k-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/54207754387_4ee187a47f_k-768x614.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/54207754387_4ee187a47f_k-1536x1229.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/54207754387_4ee187a47f_k-1920x1536.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Pao Houa Her, ‘untitled (real opium, behind opium backdrop)’ from ‘The Imaginative Landscape’ series, 2020. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The museum had also received a grant from the Institute of Museum and Library Services (IMLS), canceled in April. The SJMA is one of many nonprofits hit by the 1-2-3 whammy of NEA, \u003ca href=\"https://www.kqed.org/arts/13974737/bay-area-arts-trump-cuts-national-endowment-of-the-humanities\">National Endowment for the Humanities\u003c/a> and IMLS grant cancellations. In mid-April, Batton \u003ca href=\"https://museumca.org/press/museums-matter-statement-from-northern-california-museum-directors/\">co-authored a letter\u003c/a> with nine fellow Northern California museum directors, sounding the alarm and calling on people to contact their representatives.\u003c/p>\n\u003cp>Batton takes encouragement from the fact that attorneys general from 21 states sued the president, \u003ca href=\"https://www.npr.org/2025/05/06/nx-s1-5388902/library-funding-cuts-trump-injunction\">halting the dismantling\u003c/a> of the IMLS. But she’s also aware that the international community is watching these attacks on funding with an eye to \u003ca href=\"https://www.npr.org/2025/03/29/nx-s1-5343966/countries-boost-recruitment-of-american-scientists-amid-cuts-to-scientific-funding\">take advantage\u003c/a> of the chaos.\u003c/p>\n\u003cp>“President Macron in France just announced a great subsidy and incentive for scientists to move to France,” she says. “We may see these kinds of actions taking place in arts and culture as well.” \u003c/p>\n\u003cp>If that happens, she says, “There will be a brain drain from the United States of America.” \u003c/p>\n\u003cp>[aside postID='arts_13975661']At nonprofits nationwide, the effects are already noticeable. At BAVC, for example, Arrigoni has taken a pay and time cut. The fellowship will serve fewer filmmakers, and staff has already been laid off from the preservation team.\u003c/p>\n\u003cp>Cabrera sees the NEA cancellations as part of a longer tail of diminishing grant opportunities. “Grants that we would rely on from year to year to year, slowly but surely diminished or have gone away altogether,” he says. “Grants in general have been harder to come by, harder to find and are of generally smaller amounts.”\u003c/p>\n\u003cfigure id=\"attachment_13975942\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/GettyImages-2208995391_2000.jpg\" alt=\"blurry figure crossing in front of building with agency names\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13975942\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/GettyImages-2208995391_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/GettyImages-2208995391_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/GettyImages-2208995391_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/GettyImages-2208995391_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/GettyImages-2208995391_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/GettyImages-2208995391_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/GettyImages-2208995391_2000-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Outside the National Endowment for the Arts and the National Endowment for the Humanities on April 10, 2025 in Washington, D.C. \u003ccite>(Matt McClain/The Washington Post via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The NEA in disarray\u003c/h2>\n\u003cp>The arts are often an afterthought, and especially so when a country’s democracy is quickly being dismantled. But the NEA cuts were also overshadowed by the administration’s flood-the-zone strategy of distraction: In the days after the NEA cancellations, President Trump posted an AI-generated picture of himself as the pope, threatened tariffs on foreign films and claimed to be reopening Alcatraz — all deeply unserious proposals.\u003c/p>\n\u003cp>Meanwhile, the real story was here all along: the NEA is falling apart. This week, news of numerous NEA staffers stepping down or retiring began to hit grantee inboxes. It’s unclear how many staff remain, who will process appeals, or what funds might be allocated to future grant opportunities.\u003c/p>\n\u003cp>If, that is, future grant opportunities exist. President Trump’s latest budget proposal, also released on May 2, called for the wholesale elimination of the NEA, NEH and IMLS.\u003c/p>\n\u003cp>If there’s any upside, it’s that since the inauguration, nonprofit directors like Arrigoni had noticed a chilling effect on freedom of expression, especially among nonprofits who receive money from federal agencies. \u003c/p>\n\u003cp>“Now that we’ve lost all of our federal funding, it almost is a little bit liberating,” she said. “The funding ramifications are no longer there, and we can actually use our voices to speak out about what’s been happening.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>An important question remains, of course: what if it’s too late?\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On the afternoon of May 2, when arts nonprofits across the country began receiving news that their grants from the National Endowment for the Arts were \u003ca href=\"https://www.kqed.org/arts/13975661/national-endowment-for-the-arts-grants-canceled-nonprofits\">terminated or withdrawn\u003c/a>, the \u003ca href=\"https://bavc.org/\">Bay Area Video Coalition\u003c/a> (BAVC) received not one, but \u003ci>three\u003c/i> emails.\u003c/p>\n\u003cp>The 49-year-old nonprofit, founded to encourage independent video-making in the Bay Area, has been awarded at least one NEA grant a year for over 20 years. 2025 was no exception: in January, the NEA awarded BAVC $100,000 to fund their emerging filmmaker fellowship and preservation program.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But like dozens of Bay Area arts nonprofits, the May 2 emails stated that BAVC’s projects no longer aligned with the NEA’s priorities, recently updated by President Donald Trump. They had seven calendar days to appeal the decision. \u003c/p>\n\u003cp>Executive Director Paula Smith Arrigoni says BAVC will appeal, but she feels torn about it. “We want to support BAVC and the sustainability of our organization, but trying to fit within these very narrow values that we do not adhere to also doesn’t feel great,” she told KQED. “So I have really low confidence that even through the appeal process, there will be remedies.”\u003c/p>\n\u003cfigure id=\"attachment_13975933\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/BavcaMediaMakerFellow_202318211_2000.jpg\" alt=\"group image of smiling people on stage\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13975933\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/BavcaMediaMakerFellow_202318211_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/BavcaMediaMakerFellow_202318211_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/BavcaMediaMakerFellow_202318211_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/BavcaMediaMakerFellow_202318211_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/BavcaMediaMakerFellow_202318211_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/BavcaMediaMakerFellow_202318211_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/BavcaMediaMakerFellow_202318211_2000-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Participants of the BAVC MediaMaker Fellowship and BAVC Media staff at the program’s culminating event at KQED in February 2024. \u003ccite>(Reflect Light Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s a refrain that has echoed across organizations large and small over the past week, reflecting \u003ca href=\"https://docs.google.com/spreadsheets/d/1CVVped70_dxEm_HgLpAAy_wV_3HPsdOAJIU-FiJ_e0c/edit?gid=0#gid=0\">the sheer number of nonprofits\u003c/a> who’ve counted on the NEA, and who are now the victims of an all-out arts bloodbath by the Trump administration under the guise of eliminating waste.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In 2024, the NEA budget was $207 million, .003% of the federal budget. \u003c/p>\n\u003cp>Chances are, nearly every arts nonprofit you know and enjoy is touched by the NEA. The awards have funded a Spanish-language film series at the \u003ca href=\"https://www.kqed.org/arts/tag/roxie-theater\">Roxie\u003c/a>, design and building workshops at \u003ca href=\"https://www.kqed.org/arts/tag/roxie-theater\">Girls Garage\u003c/a>, and a dance education program for elementary-school students at San José’s \u003ca href=\"https://newballet.com/\">New Ballet\u003c/a>. \u003c/p>\n\u003cp>“In many senses, the National Endowment for the Arts is a symbol as much as it is a funder,” says Tom Parrish, managing director of \u003ca href=\"https://www.kqed.org/arts/tag/berkeley-rep\">Berkeley Repertory Theatre\u003c/a>, which had a $40,000 grant withdrawn. “To have this support canceled is basically saying that we are no longer valued — that the arts are no longer valued in America.”\u003c/p>\n\u003ch2>Funding halted mid-projects\u003c/h2>\n\u003cp>For many NEA grant recipients, especially those who received grants in 2023 and 2024 and still had balances to spend, the May 2 termination emails were particularly cruel.\u003c/p>\n\u003cp>“For some of our colleagues,” Parrish told KQED, “they’ve already done the projects, or they’re in the middle of the projects.”\u003c/p>\n\u003cfigure id=\"attachment_13975939\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/SaadHadad_2000.jpg\" alt=\"orchestra rehearsal in large theater\" width=\"2000\" height=\"1500\" class=\"size-full wp-image-13975939\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/SaadHadad_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/SaadHadad_2000-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/SaadHadad_2000-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/SaadHadad_2000-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/SaadHadad_2000-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/SaadHadad_2000-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/SaadHadad_2000-1920x1440.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Saad Haddad in rehearsal with Donato Cabrera and the California Symphony for his composition, ‘Fantasia for Strings,’ which premiered March 22, 2025 at Walnut Creek’s Lesher Center for the Arts. \u003ccite>(Courtesy of California Symphony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The \u003ca href=\"https://www.californiasymphony.org/\">California Symphony\u003c/a>, for example, has only received half of its $20,000 NEA grant to support its three-year \u003ca href=\"https://www.californiasymphony.org/off-stage/for-artists/\">Young American Composer-in-Residence\u003c/a> program. Composer Saad Haddad will present his third and final composition next summer, in a program meant to celebrate the country’s 250th anniversary.\u003c/p>\n\u003cp>Donato Cabrera, artistic and music director of the California Symphony, notes that the anniversary \u003ci>is\u003c/i> one of the new priorities for NEA funding. “That’s the irony of it all,” he says, “let alone the fact the title of our program is Young American Composer-in-Residence — it feels rather in alignment.”\u003c/p>\n\u003cp>Despite the termination of the NEA grant, Cabrera says the symphony has no plans to stop the residency program, and will find a way, somehow, to pay for it. “It is well known amongst aspiring and young composers as one of the stepping stones that creates a career in composition in this country,” he says. “So we’re going to hold onto this program as tightly as we can.”\u003c/p>\n\u003cp>Many of the canceled NEA grants were meant to support artists at the beginning of their careers. At BAVC, the MediaMaker Fellowship is for emerging documentary filmmakers. \u003c/p>\n\u003cfigure id=\"attachment_13918389\" class=\"wp-caption aligncenter\" style=\"max-width: 1180px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/ainttooproud.jpeg\" alt=\"a group of men dressed as the Motown group the Temptations stand around a piano and sing\" width=\"1180\" height=\"664\" class=\"size-full wp-image-13918389\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/ainttooproud.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/ainttooproud-800x450.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/ainttooproud-1020x574.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/ainttooproud-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/ainttooproud-768x432.jpeg 768w\" sizes=\"auto, (max-width: 1180px) 100vw, 1180px\">\u003cfigcaption class=\"wp-caption-text\">A scene from The Temptations musical ‘Ain’t Too Proud,’ which made its world premiere at Berkeley Rep in 2017 before landing in New York City two years later. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Berkeley Rep’s $40,000 NEA grant was to support their incubator program, \u003ca href=\"https://www.berkeleyrep.org/the-ground-floor/\">The Ground Floor\u003c/a>. “Any loss of support impacts our pipeline of new plays,” Parrish says. “The Ground Floor has helped to support hundreds of projects and brought bold, innovative stories to life on our stages and across the country.”\u003c/p>\n\u003cp>\u003ci>Cult of Love\u003c/i>, \u003ci>Ain’t Too Proud\u003c/i>, \u003ci>American Idiot\u003c/i>, \u003ci>Hadestown\u003c/i> — all either went through the incubator program or premiered at Berkeley Rep.\u003c/p>\n\u003cp>This is the power of an NEA grant. It gives nonprofits the ability to take chances on the experimental, visionary projects that may not have commercial outlets. Grant funds mean artists get paid, audiences experience new work, and younger generations are supported in fields that need their fresh energy.\u003c/p>\n\u003ch2>What’s lost\u003c/h2>\n\u003cp>The NEA might not be the largest funding source for a nonprofit, but it can be the most prestigious.\u003c/p>\n\u003cp>“One of the really beautiful things about the NEA is that they’ve been very committed to funding smaller organizations,” Arrigoni says. Once a nonprofit has received an NEA grant, she adds, “you have this amazing stamp of approval.”\u003c/p>\n\u003cp>Sayre Batton, executive director of the \u003ca href=\"https://www.kqed.org/arts/tag/san-jose-museum-of-art\">San José Museum of Art\u003c/a>, agrees. “It has a multiplier effect,” she says. “I would say probably for every dollar from the NEA, we might be able to raise five or $10 more on a match.”\u003c/p>\n\u003cp>The SJMA was set to receive a $50,000 NEA grant this year, to support an exhibition and catalog for the work of \u003ca href=\"https://sjmusart.org/exhibition/pao-houa-her-imaginative-landscape\">Pao Houa Her\u003c/a>. That show opens July 11 at the museum and sites around the city.\u003c/p>\n\u003cfigure id=\"attachment_13975930\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/54207754387_4ee187a47f_k.jpg\" alt=\"real flowers in front of a faded photo backdrop of flowers\" width=\"2000\" height=\"1600\" class=\"size-full wp-image-13975930\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/54207754387_4ee187a47f_k.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/54207754387_4ee187a47f_k-800x640.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/54207754387_4ee187a47f_k-1020x816.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/54207754387_4ee187a47f_k-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/54207754387_4ee187a47f_k-768x614.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/54207754387_4ee187a47f_k-1536x1229.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/54207754387_4ee187a47f_k-1920x1536.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Pao Houa Her, ‘untitled (real opium, behind opium backdrop)’ from ‘The Imaginative Landscape’ series, 2020. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The museum had also received a grant from the Institute of Museum and Library Services (IMLS), canceled in April. The SJMA is one of many nonprofits hit by the 1-2-3 whammy of NEA, \u003ca href=\"https://www.kqed.org/arts/13974737/bay-area-arts-trump-cuts-national-endowment-of-the-humanities\">National Endowment for the Humanities\u003c/a> and IMLS grant cancellations. In mid-April, Batton \u003ca href=\"https://museumca.org/press/museums-matter-statement-from-northern-california-museum-directors/\">co-authored a letter\u003c/a> with nine fellow Northern California museum directors, sounding the alarm and calling on people to contact their representatives.\u003c/p>\n\u003cp>Batton takes encouragement from the fact that attorneys general from 21 states sued the president, \u003ca href=\"https://www.npr.org/2025/05/06/nx-s1-5388902/library-funding-cuts-trump-injunction\">halting the dismantling\u003c/a> of the IMLS. But she’s also aware that the international community is watching these attacks on funding with an eye to \u003ca href=\"https://www.npr.org/2025/03/29/nx-s1-5343966/countries-boost-recruitment-of-american-scientists-amid-cuts-to-scientific-funding\">take advantage\u003c/a> of the chaos.\u003c/p>\n\u003cp>“President Macron in France just announced a great subsidy and incentive for scientists to move to France,” she says. “We may see these kinds of actions taking place in arts and culture as well.” \u003c/p>\n\u003cp>If that happens, she says, “There will be a brain drain from the United States of America.” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>At nonprofits nationwide, the effects are already noticeable. At BAVC, for example, Arrigoni has taken a pay and time cut. The fellowship will serve fewer filmmakers, and staff has already been laid off from the preservation team.\u003c/p>\n\u003cp>Cabrera sees the NEA cancellations as part of a longer tail of diminishing grant opportunities. “Grants that we would rely on from year to year to year, slowly but surely diminished or have gone away altogether,” he says. “Grants in general have been harder to come by, harder to find and are of generally smaller amounts.”\u003c/p>\n\u003cfigure id=\"attachment_13975942\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/GettyImages-2208995391_2000.jpg\" alt=\"blurry figure crossing in front of building with agency names\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13975942\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/GettyImages-2208995391_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/GettyImages-2208995391_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/GettyImages-2208995391_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/GettyImages-2208995391_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/GettyImages-2208995391_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/GettyImages-2208995391_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/GettyImages-2208995391_2000-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Outside the National Endowment for the Arts and the National Endowment for the Humanities on April 10, 2025 in Washington, D.C. \u003ccite>(Matt McClain/The Washington Post via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The NEA in disarray\u003c/h2>\n\u003cp>The arts are often an afterthought, and especially so when a country’s democracy is quickly being dismantled. But the NEA cuts were also overshadowed by the administration’s flood-the-zone strategy of distraction: In the days after the NEA cancellations, President Trump posted an AI-generated picture of himself as the pope, threatened tariffs on foreign films and claimed to be reopening Alcatraz — all deeply unserious proposals.\u003c/p>\n\u003cp>Meanwhile, the real story was here all along: the NEA is falling apart. This week, news of numerous NEA staffers stepping down or retiring began to hit grantee inboxes. It’s unclear how many staff remain, who will process appeals, or what funds might be allocated to future grant opportunities.\u003c/p>\n\u003cp>If, that is, future grant opportunities exist. President Trump’s latest budget proposal, also released on May 2, called for the wholesale elimination of the NEA, NEH and IMLS.\u003c/p>\n\u003cp>If there’s any upside, it’s that since the inauguration, nonprofit directors like Arrigoni had noticed a chilling effect on freedom of expression, especially among nonprofits who receive money from federal agencies. \u003c/p>\n\u003cp>“Now that we’ve lost all of our federal funding, it almost is a little bit liberating,” she said. “The funding ramifications are no longer there, and we can actually use our voices to speak out about what’s been happening.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>An important question remains, of course: what if it’s too late?\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "josue-rojas-recology-artwork-trash-san-francisco-story",
"title": "Josué Rojas Reuses the City’s Trash to Tell a Distinctly San Francisco Story",
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"headTitle": "Josué Rojas Reuses the City’s Trash to Tell a Distinctly San Francisco Story | KQED",
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"content": "\u003cfigure id=\"attachment_13975767\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13975767\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2645-scaled.jpg\" alt=\"A man with a San Francisco Giants hat and a paint-covered an apron pose for a photo in front of some artwork he's created.\" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2645-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2645-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2645-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2645-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2645-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2645-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2645-1536x2048.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Artist Josué Rojas and his ‘Pupusa Face’ characters at Recology in San Francisco. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the southernmost edge of San Francisco, between the Cow Palace and what was once Candlestick Park, I pull up to Recology’s compost, recycling and waste transfer station.\u003c/p>\n\u003cp>Here, at a 47-acre facility, is where San Francisco’s waste is divided into piles for reuse or rubbish. Hazardous household waste, like paint, goes in one area. Small electronics, like batteries, in another. A small puddle of murky water accumulates in a corner of the airplane-hanger–sized building, as big tractor-like trucks move materials around.\u003c/p>\n\u003cp>On the other side of a huge wall, next to Recology’s offices, it’s calm. There are no trucks trucking or trash heaps heaping.\u003c/p>\n\u003cp>For here is a large art studio space, where \u003ca href=\"https://www.instagram.com/josue.rojas.art/\">Josué Rojas\u003c/a>, a longtime muralist and \u003ca href=\"https://www.recology.com/recology-san-francisco/artist-in-residence-program/\">one of four current artists-in-residency at Recology\u003c/a>, stands amid items he’s pulled from the trash.\u003c/p>\n\u003cfigure id=\"attachment_13975765\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13975765\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2665-scaled.jpg\" alt=\"An overhead view of a man standing in a studio populated by arts supplies.\" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2665-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2665-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2665-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2665-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2665-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2665-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2665-1536x2048.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Muralist and painter Josué Rojas prepares for his latest exhibition, “PUPUSA FACE: A Fever Dream Codex.” \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Repurposed paints, gently used canvases and old records that he’s set aside for listening populate the studio space. Rojas is working on his upcoming exhibition, \u003ca href=\"https://www.recology.com/recology_news/recology-artist-in-residence-exhibitions-work-by-laurel-roth-hope-josue-rojas-and-sfsu-mfa-candidates-eleanor-scholz-and-daniela-tinoco/\">\u003cem>Pupusa Face: A Fever Dream Codex\u003c/em>\u003c/a>, which will be on view at Recology on May 16, 17 and 20.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Rojas’ work is made of brightly colored pieces and cleverly written messages inspired by his adventures in academia, his family roots in El Salvador and his upbringing in San Francisco. His art simultaneously pokes fun at 1950s Americana while subtly critiquing mass consumption and mass production in the United States.\u003c/p>\n\u003cp>And, here at the dump, Rojas’ work raises the broad question: If one artist can reuse all of this “trash” in a creative manner, what are we doing as a society?\u003c/p>\n\u003cp>“I’ve had to go through a bunch of training to be able to scavenge safely,” Rojas says, standing in his studio with a San Francisco Giants cap covering his head and paint splotch on his apron.\u003c/p>\n\u003cp>He learned about protective gear: steel toe boots, N-95 masks, puncture-resistant gloves, goggles. “At first,” he says, “I was like, ‘Man, why would I need all that?’” After one trip to the dump, where he encountered sharp and unsanitary objects, he understood. A naturally resourceful person and no stranger to dumpster-diving in the name of creative reuse, Rojas says doing so safely is paramount.\u003c/p>\n\u003cfigure id=\"attachment_13975766\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13975766\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2634-scaled.jpg\" alt=\"An opened page of a sketchbook reveals a colorful illustration; the book is surrounded by a long list of formerly discarded items in a studio.\" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2634-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2634-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2634-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2634-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2634-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2634-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2634-1536x2048.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Josué Rojas says his latest work is another iteration of his previous work, so he keeps his old sketchbooks close in order to guide him. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Also key? Having a partner to work with.\u003c/p>\n\u003cp>\u003ca href=\"https://www.recology.com/recology_artist/laurel-roth-hope/\">Laurel Roth Hope\u003c/a>, Rojas’ studiomate and another Recology artist-in-residence, is working on an exhibition for the mid-May opening focused on “the choices we must make every day between our individual desires and the well-being of the world at large.”\u003c/p>\n\u003cp>Rojas credits Hope with finding pieces of discarded wood that he’ll use in the latest iteration of what he calls “pupusa face.”\u003c/p>\n\u003cp>Although he often uses the term in jokes with his nephews, Rojas explains that “pupusa face” is a derogatory expression, used to describe Central Americans. “I’m just owning it,” he says, adding that it basically means someone with a round face. But it has a deeper cultural connotation when depicted in art, by pushing his Salvadoran roots into mainstream conversation — and filling a gap in the visual art lexicon.\u003c/p>\n\u003cp>“I don’t really think we’ve got a lot of Central American heroes,” Rojas says. There’s no Jean-Michel Basquiat, Diego Rivera or Frida Kahlo of Central America, he surmises. “I know we \u003ci>do\u003c/i> have those artists, but as far as them getting prime time, we don’t.” He believes his work is a part of a larger effort to “get some eyes on Central American stories,” which he notes is easily distinguishable from Mexican culture.\u003c/p>\n\u003cfigure id=\"attachment_13975764\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13975764\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2661-1-scaled.jpg\" alt=\"A man with a hat and a paint-covered apron on stands and poses while looking at the camera.\" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2661-1-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2661-1-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2661-1-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2661-1-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2661-1-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2661-1-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2661-1-1536x2048.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Muralist and painter Josué Rojas stands atop at set of stairs inside of a studio at Recology’s headquarters in San Francisco. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We’ve got a presence in the Bay Area and in San Francisco that’s distinct,” says Rojas.\u003c/p>\n\u003cp>Known to \u003ca href=\"https://www.kqed.org/arts/13912879/rightnowish-sf-mission-muralist-mothers-day\">sometimes paint with his mother\u003c/a>, Esther, Rojas’ love for the City runs deep. He’s been an educator and a journalist, formerly serving as the executive director of Acción Latina, which publishes the long-running bilingual periodical \u003ci>El Tecolote\u003c/i>. After painting his first mural in 1995, he now has art all around town, including a piece just completed last month at the new Sunset Dunes Park.\u003c/p>\n\u003cp>Despite being so deeply intertwined with the City, he’s never before seen it this way: by looking at its trash.\u003c/p>\n\u003cp>“Seeing the way San Francisco digests a lot of its stuff,” he says, “I love it in a different way now.”\u003c/p>\n\u003cp>Recology’s art program was founded 35 years ago. Deborah Munk, manager of the residency, has been here for 25 of those years. She tells me that the program’s founder, \u003ca href=\"https://www.recology.com/recology-san-francisco/artist-in-residence-program/\">Jo Hanson\u003c/a>, once rented a bus and invited politicians and socialites to a gallery viewing. Instead, she took them on a tour of illegal dumping sites around the city.\u003c/p>\n\u003cp>With his work, Rojas isn’t looking to be as in-your-face, but his use of postwar imagery — a Dubble-Bubble gum wrapper design, the bright colors in advertising for 1950s toys — evokes an era when one-time use materials \u003ca href=\"https://oneplanetlife.com/people-and-planet-first/opl-insight-plastic-production-and-recycling-from-1950-to-today/\">like plastics\u003c/a> were seen as progress instead of environmental liabilities.\u003c/p>\n\u003cfigure id=\"attachment_13975768\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13975768\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/img_2640-800x1067.jpg\" alt=\"An artist rolls out a scroll full of paint and words. \" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/img_2640-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/img_2640-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/img_2640-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/img_2640-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/img_2640-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/img_2640-1536x2048.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/img_2640-scaled.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Josué Rojas often works on long scrolls, which he calls books. This one has depictions of the 1989 World Series, It’s-It Ice Cream and other local staples. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That same concept of production and consumption, the way we use and disregard our natural resources, can be seen as a metaphor for how certain people are treated in a city like San Francisco, where many working-class folks have been pushed out.\u003c/p>\n\u003cp>“Staying in San Francisco is for sure a challenge,” says Rojas, who notes he was once evicted from his residence in the Mission. As the City changes, metaphorically disposing the people who made it what it is, Rojas finds a silver lining: he’s still around to contribute to his hometown.\u003c/p>\n\u003cp>“I feel like I need to renew the contract with the City every day,” he says. “If I want to be a part of the future of San Francisco, I can’t be a captive to nostalgia.”\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Josué Rojas’ ‘\u003ca href=\"https://www.recology.com/recology_news/recology-artist-in-residence-exhibitions-work-by-laurel-roth-hope-josue-rojas-and-sfsu-mfa-candidates-eleanor-scholz-and-daniela-tinoco/\">Pupupsa Face: A Fever Dream Codex\u003c/a>’ is on view alongside exhibitions by Laurel Roth Hope, Eleanor Scholz and Daniela Tinoco on May 16, 17 and 20 at Recology Art Studios in San Francisco. Artist talk on May 20.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13975767\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13975767\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2645-scaled.jpg\" alt=\"A man with a San Francisco Giants hat and a paint-covered an apron pose for a photo in front of some artwork he's created.\" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2645-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2645-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2645-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2645-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2645-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2645-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2645-1536x2048.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Artist Josué Rojas and his ‘Pupusa Face’ characters at Recology in San Francisco. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the southernmost edge of San Francisco, between the Cow Palace and what was once Candlestick Park, I pull up to Recology’s compost, recycling and waste transfer station.\u003c/p>\n\u003cp>Here, at a 47-acre facility, is where San Francisco’s waste is divided into piles for reuse or rubbish. Hazardous household waste, like paint, goes in one area. Small electronics, like batteries, in another. A small puddle of murky water accumulates in a corner of the airplane-hanger–sized building, as big tractor-like trucks move materials around.\u003c/p>\n\u003cp>On the other side of a huge wall, next to Recology’s offices, it’s calm. There are no trucks trucking or trash heaps heaping.\u003c/p>\n\u003cp>For here is a large art studio space, where \u003ca href=\"https://www.instagram.com/josue.rojas.art/\">Josué Rojas\u003c/a>, a longtime muralist and \u003ca href=\"https://www.recology.com/recology-san-francisco/artist-in-residence-program/\">one of four current artists-in-residency at Recology\u003c/a>, stands amid items he’s pulled from the trash.\u003c/p>\n\u003cfigure id=\"attachment_13975765\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13975765\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2665-scaled.jpg\" alt=\"An overhead view of a man standing in a studio populated by arts supplies.\" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2665-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2665-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2665-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2665-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2665-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2665-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2665-1536x2048.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Muralist and painter Josué Rojas prepares for his latest exhibition, “PUPUSA FACE: A Fever Dream Codex.” \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Repurposed paints, gently used canvases and old records that he’s set aside for listening populate the studio space. Rojas is working on his upcoming exhibition, \u003ca href=\"https://www.recology.com/recology_news/recology-artist-in-residence-exhibitions-work-by-laurel-roth-hope-josue-rojas-and-sfsu-mfa-candidates-eleanor-scholz-and-daniela-tinoco/\">\u003cem>Pupusa Face: A Fever Dream Codex\u003c/em>\u003c/a>, which will be on view at Recology on May 16, 17 and 20.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Rojas’ work is made of brightly colored pieces and cleverly written messages inspired by his adventures in academia, his family roots in El Salvador and his upbringing in San Francisco. His art simultaneously pokes fun at 1950s Americana while subtly critiquing mass consumption and mass production in the United States.\u003c/p>\n\u003cp>And, here at the dump, Rojas’ work raises the broad question: If one artist can reuse all of this “trash” in a creative manner, what are we doing as a society?\u003c/p>\n\u003cp>“I’ve had to go through a bunch of training to be able to scavenge safely,” Rojas says, standing in his studio with a San Francisco Giants cap covering his head and paint splotch on his apron.\u003c/p>\n\u003cp>He learned about protective gear: steel toe boots, N-95 masks, puncture-resistant gloves, goggles. “At first,” he says, “I was like, ‘Man, why would I need all that?’” After one trip to the dump, where he encountered sharp and unsanitary objects, he understood. A naturally resourceful person and no stranger to dumpster-diving in the name of creative reuse, Rojas says doing so safely is paramount.\u003c/p>\n\u003cfigure id=\"attachment_13975766\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13975766\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2634-scaled.jpg\" alt=\"An opened page of a sketchbook reveals a colorful illustration; the book is surrounded by a long list of formerly discarded items in a studio.\" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2634-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2634-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2634-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2634-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2634-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2634-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2634-1536x2048.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Josué Rojas says his latest work is another iteration of his previous work, so he keeps his old sketchbooks close in order to guide him. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Also key? Having a partner to work with.\u003c/p>\n\u003cp>\u003ca href=\"https://www.recology.com/recology_artist/laurel-roth-hope/\">Laurel Roth Hope\u003c/a>, Rojas’ studiomate and another Recology artist-in-residence, is working on an exhibition for the mid-May opening focused on “the choices we must make every day between our individual desires and the well-being of the world at large.”\u003c/p>\n\u003cp>Rojas credits Hope with finding pieces of discarded wood that he’ll use in the latest iteration of what he calls “pupusa face.”\u003c/p>\n\u003cp>Although he often uses the term in jokes with his nephews, Rojas explains that “pupusa face” is a derogatory expression, used to describe Central Americans. “I’m just owning it,” he says, adding that it basically means someone with a round face. But it has a deeper cultural connotation when depicted in art, by pushing his Salvadoran roots into mainstream conversation — and filling a gap in the visual art lexicon.\u003c/p>\n\u003cp>“I don’t really think we’ve got a lot of Central American heroes,” Rojas says. There’s no Jean-Michel Basquiat, Diego Rivera or Frida Kahlo of Central America, he surmises. “I know we \u003ci>do\u003c/i> have those artists, but as far as them getting prime time, we don’t.” He believes his work is a part of a larger effort to “get some eyes on Central American stories,” which he notes is easily distinguishable from Mexican culture.\u003c/p>\n\u003cfigure id=\"attachment_13975764\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13975764\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2661-1-scaled.jpg\" alt=\"A man with a hat and a paint-covered apron on stands and poses while looking at the camera.\" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2661-1-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2661-1-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2661-1-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2661-1-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2661-1-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2661-1-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2661-1-1536x2048.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Muralist and painter Josué Rojas stands atop at set of stairs inside of a studio at Recology’s headquarters in San Francisco. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We’ve got a presence in the Bay Area and in San Francisco that’s distinct,” says Rojas.\u003c/p>\n\u003cp>Known to \u003ca href=\"https://www.kqed.org/arts/13912879/rightnowish-sf-mission-muralist-mothers-day\">sometimes paint with his mother\u003c/a>, Esther, Rojas’ love for the City runs deep. He’s been an educator and a journalist, formerly serving as the executive director of Acción Latina, which publishes the long-running bilingual periodical \u003ci>El Tecolote\u003c/i>. After painting his first mural in 1995, he now has art all around town, including a piece just completed last month at the new Sunset Dunes Park.\u003c/p>\n\u003cp>Despite being so deeply intertwined with the City, he’s never before seen it this way: by looking at its trash.\u003c/p>\n\u003cp>“Seeing the way San Francisco digests a lot of its stuff,” he says, “I love it in a different way now.”\u003c/p>\n\u003cp>Recology’s art program was founded 35 years ago. Deborah Munk, manager of the residency, has been here for 25 of those years. She tells me that the program’s founder, \u003ca href=\"https://www.recology.com/recology-san-francisco/artist-in-residence-program/\">Jo Hanson\u003c/a>, once rented a bus and invited politicians and socialites to a gallery viewing. Instead, she took them on a tour of illegal dumping sites around the city.\u003c/p>\n\u003cp>With his work, Rojas isn’t looking to be as in-your-face, but his use of postwar imagery — a Dubble-Bubble gum wrapper design, the bright colors in advertising for 1950s toys — evokes an era when one-time use materials \u003ca href=\"https://oneplanetlife.com/people-and-planet-first/opl-insight-plastic-production-and-recycling-from-1950-to-today/\">like plastics\u003c/a> were seen as progress instead of environmental liabilities.\u003c/p>\n\u003cfigure id=\"attachment_13975768\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13975768\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/img_2640-800x1067.jpg\" alt=\"An artist rolls out a scroll full of paint and words. \" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/img_2640-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/img_2640-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/img_2640-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/img_2640-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/img_2640-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/img_2640-1536x2048.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/img_2640-scaled.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Josué Rojas often works on long scrolls, which he calls books. This one has depictions of the 1989 World Series, It’s-It Ice Cream and other local staples. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That same concept of production and consumption, the way we use and disregard our natural resources, can be seen as a metaphor for how certain people are treated in a city like San Francisco, where many working-class folks have been pushed out.\u003c/p>\n\u003cp>“Staying in San Francisco is for sure a challenge,” says Rojas, who notes he was once evicted from his residence in the Mission. As the City changes, metaphorically disposing the people who made it what it is, Rojas finds a silver lining: he’s still around to contribute to his hometown.\u003c/p>\n\u003cp>“I feel like I need to renew the contract with the City every day,” he says. “If I want to be a part of the future of San Francisco, I can’t be a captive to nostalgia.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Josué Rojas’ ‘\u003ca href=\"https://www.recology.com/recology_news/recology-artist-in-residence-exhibitions-work-by-laurel-roth-hope-josue-rojas-and-sfsu-mfa-candidates-eleanor-scholz-and-daniela-tinoco/\">Pupupsa Face: A Fever Dream Codex\u003c/a>’ is on view alongside exhibitions by Laurel Roth Hope, Eleanor Scholz and Daniela Tinoco on May 16, 17 and 20 at Recology Art Studios in San Francisco. Artist talk on May 20.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cb>\u003ci>Be sure to check out our full \u003ca href=\"https://www.kqed.org/arts/tag/summer-guide-2025\">2025 Summer Arts Guide to live music, movies, art, theater, festivals and more\u003c/a> in the Bay Area.\u003c/i>\u003c/b>\u003c/p>\n\u003cp>You, reading this: put your phone down! (After you read this, that is.)\u003c/p>\n\u003cp>Our phones are full of stimulating images, sounds, news and entertainment, all packaged in apps and sites strategically designed so we’ll scroll until the world ends or our batteries die — whichever comes first. \u003c/p>\n\u003cp>Research shows that the average person in the U.S. spends an accumulated \u003ca href=\"https://talkerresearch.com/media-consumption-trend-report/\">36 days per year scrolling\u003c/a>. We’re constantly inundated with advertisements, updates from friends and news to make you fear the world outside your door. Even checking the weather app is a walk on the wild side. \u003c/p>\n\u003cp>Well, it’s summer, and in the Bay Area, you already know what that means: brisk foggy mornings, warm afternoons and memorable nights. So stop scrolling. Start seeking adventure, in-person friendships, and solo time. Craft making, sunset chasing. New scars and healthy ways of healing old wounds. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Here are some ways to get your palms on plans that are worthwhile. \u003c/p>\n\u003cfigure id=\"attachment_13903237\" class=\"wp-caption aligncenter\" style=\"max-width: 1616px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Image-from-iOS-12-copy.jpg\" alt=\"Taking some molten glass out of a fiery glory hole in preparation to mold it into a a beautiful object.\" width=\"1616\" height=\"1080\" class=\"size-full wp-image-13903237\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Image-from-iOS-12-copy.jpg 1616w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Image-from-iOS-12-copy-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Image-from-iOS-12-copy-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Image-from-iOS-12-copy-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Image-from-iOS-12-copy-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Image-from-iOS-12-copy-1536x1027.jpg 1536w\" sizes=\"auto, (max-width: 1616px) 100vw, 1616px\">\u003cfigcaption class=\"wp-caption-text\">Taking some molten glass out of a fiery glory hole in preparation to mold it into a a beautiful object. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Glass-Blowing Classes \u003c/h2>\n\u003cp>Glass-blowing is a craft that takes time, concentration and strength. While photos of the process look cool, you won’t want to hold your phone up for a selfie while you’re juggling a glob of liquid glass near an extremely hot oven. Inherent dangers abound, but luckily, safety guides and instructors can guide you along the way. If you’re interested in glass blowing, check out \u003ca href=\"https://www.thecrucible.org/departments/glass-blowing/?gad_source=1&gbraid=0AAAAADjriNi9saI87E32Ui-3-tkeBT3X-&gclid=Cj0KCQjw2tHABhCiARIsANZzDWpOr-4y_k3Y5f8Pf2xDvvznZjDkjQHY9DTDfFotuey7FypfDILPKRUaAnoYEALw_wcB&gclsrc=aw.ds\">The Crucible\u003c/a> in Oakland, \u003ca href=\"https://bagi.org/\">The Bay Area Glass Institute\u003c/a> in San Jose, \u003ca href=\"https://www.artescapesonoma.com/\">Art Escape\u003c/a> in Sonoma or \u003ca href=\"https://www.glasshandstudio.com/classes.php\">Glass Hand Studio\u003c/a> in Alameda. (San Francisco’s \u003ca href=\"https://www.publicglass.org/\">Public Glass\u003c/a> is closed until June 8 for a furnace rebuild, but will resume operations afterward — including classes for kids.)\u003c/p>\n\u003ch2>Ceramics and Pottery Workshops\u003c/h2>\n\u003cp>The thing about throwing clay is that it takes core strength. It takes focus. And it’ll cover your hands with so much clay that you won’t want to pick up your phone, no matter how insane the latest push notification about Washington D.C. might be. Plus, you’ll leave the class with a new piece of tableware, a new lamp or the classic: an ashtray. With locations in San Francisco, Oakland and San Mateo, \u003ca href=\"https://www.clayroomsf.com/\">The Clayroom\u003c/a> offers 6-week classes running from May through June. San Francisco’s \u003ca href=\"https://www.claybythebaysf.com/classes/\">Clay By The Bay\u003c/a> has classes starting May 12, and San Jose’s \u003ca href=\"https://higherfirestudios.com/events-calendar/\">Higher Fire Studios\u003c/a> offer a continuous schedule of classes. Meanwhile in El Cerrito, \u003ca href=\"https://www.mudworks-pottery.com/menu-4\">Mudworks Studios\u003c/a> has classes all summer. \u003c/p>\n\u003cfigure id=\"attachment_13862915\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/DJLamont.MAIN_.jpg\" alt=\"DJ Lamont Young.\" width=\"1920\" height=\"1200\" class=\"size-full wp-image-13862915\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/DJLamont.MAIN_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/DJLamont.MAIN_-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/DJLamont.MAIN_-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/DJLamont.MAIN_-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/DJLamont.MAIN_-1020x638.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/DJLamont.MAIN_-1200x750.jpg 1200w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">DJ Lamont Young. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>DJing\u003c/h2>\n\u003cp>Into stitching things together, but tailored for people’s ears? Try your hand at DJing. In the Mission District, San Francisco fixture \u003ca href=\"https://www.instagram.com/fingersnapsmediaarts/?hl=en\">DJ Lamont\u003c/a> leads a collaborative summertime \u003ca href=\"https://www.fingersnaps.net/learn-to-dj-each-one-teach-one-summer-2025\">“each one teach one” DJing workshop\u003c/a> at Fingersnaps Media, with classes July 9–Aug. 13. Other spots with lessons on the turntables are San Francisco’s \u003ca href=\"https://bluebearmusic.org/classes/dj-electronic-music/\">Blue Bear School of Music\u003c/a> and \u003ca href=\"https://www.washburnstudio.com/dj-courses\">Washburn Studio and Music School\u003c/a>, as well as Oakland’s women-led collective, \u003ca href=\"https://www.herdjclub.com/\">Her DJ Club\u003c/a>. It takes two hands and \u003ca href=\"https://www.youtube.com/watch?v=PQMO3HJkSLA\">deep concentration\u003c/a> — a perfect combo to keep you off your phone.\u003c/p>\n\u003ch2>Sewing, Embroidering and Quiltmaking\u003c/h2>\n\u003cp>What’s a better way to reclaim your screen time than making your own summer clothes?! At Oakland’s \u003ca href=\"https://communityfits.as.me/schedule/e410891c\">Community Fits\u003c/a>, you can “sip and stitch” with the collective or take solo lessons to learn how to hem your new cutoffs. The \u003ca href=\"https://www.creativereuse.org/\">East Bay Depot for Creative Reuse\u003c/a> also offers sewing classes, lessons on embroidering and even a Sashiko mending workshop. And if you’re really looking to invest in the art of threads, \u003ca href=\"https://www.instagram.com/folkfibers/?hl=en\">Maura Ambrose\u003c/a> hosts \u003ca href=\"https://www.eventbrite.com/e/creative-quilting-with-botanical-fabrics-tickets-1328841262989?aff=ebdssbdestsearch\">a day-long quiltmaking event\u003c/a> in Oakland on June 13. \u003c/p>\n\u003cfigure id=\"attachment_13976312\" class=\"wp-caption aligncenter\" style=\"max-width: 1333px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/img_3051.jpg\" alt=\"\" width=\"1333\" height=\"2000\" class=\"size-full wp-image-13976312\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/img_3051.jpg 1333w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/img_3051-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/img_3051-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/img_3051-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/img_3051-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/img_3051-1024x1536.jpg 1024w\" sizes=\"auto, (max-width: 1333px) 100vw, 1333px\">\u003cfigcaption class=\"wp-caption-text\">‘The Dog,’ by Adrian Xuana, at Yerba Buena Gardens in San Francisco. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Public Art\u003c/h2>\n\u003cp>Ok, maybe you’re more of a passive observer. (That’s why you’re scrolling constantly.) We’ve got you covered: outdoor art exhibitions. Out in the Presidio, you can see flowers in bloom, artwork by \u003ca href=\"https://www.instagram.com/favianna1/\">Favianna Rodriguez\u003c/a> and, if fog permits, the Golden Gate Bridge. Across town, Yerba Buena Gardens has become home to \u003ca href=\"https://yerbabuenagardens.org/events/alebrijes-and-nahuales/\">eight different 22-foot tall Alebrijes and Nahuales\u003c/a> designed by seven different artists, on view through June 22. Across the bridge at the \u003ca href=\"https://www.creativeshields.com/marinship-1\">Marin Gateway Shopping Center\u003c/a> and at bus stops in the surrounding area are images depicting \u003ca href=\"https://www.kqed.org/news/11898287/how-black-shipyard-workers-in-marin-helped-win-world-war-ii\">Marinship\u003c/a>, the WWII-era shipbuilding company that once called that town home. And in downtown Oakland on Webster between 14th and 15th, there’s \u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/img_2828.jpg\">a mural inspired by the Bay’s newest professional sports franchise, The Valkyries\u003c/a>. \u003c/p>\n\u003ch2>Gardening\u003c/h2>\n\u003cp>Here’s a way to enjoy the Mediterranean climate of the Bay Area: play in some dirt! Just about every community hosts a community garden, and programs like the \u003ca href=\"http://www.vallejopeoplesgarden.org/p/get-involved.html\">Vallejo People’s Garden\u003c/a> and \u003ca href=\"https://grpg.org/get-involved/volunteer/\">Guadalupe Community Garden\u003c/a> in San Jose give first-timers an opportunity to get their hands in the dirt and learn about horticulture. In the East Bay, there’s \u003ca href=\"https://plantingjustice.org/pages/what-we-do/volunteer\">Planting Justice\u003c/a> and \u003ca href=\"https://docs.google.com/forms/d/e/1FAIpQLSdDg_BIc1iWARFdlnVD_X_R13DKnqCP_cxqaJRhsgZpgsWpig/viewform\">The People’s Garden\u003c/a>, where you can volunteer to work the land, and the UC Berkeley College of Agriculture and Natural Resources offers a \u003ca href=\"https://ucanr.edu/search/all?keys=&sort_by=field_start_date&field_event_date=1&f%5B0%5D=format:live_event&route=events\">series of lectures and workshops\u003c/a> to help anyone looking to grow an even greener thumb. \u003c/p>\n\u003cfigure id=\"attachment_13937346\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231101-SCRAPERBIKE_HALLOWEEN_KQED_MANUELORBEGOZO-3-KQED.jpg\" alt=\"A group of adults and children hang out on bikes at a park.\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13937346\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231101-SCRAPERBIKE_HALLOWEEN_KQED_MANUELORBEGOZO-3-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231101-SCRAPERBIKE_HALLOWEEN_KQED_MANUELORBEGOZO-3-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231101-SCRAPERBIKE_HALLOWEEN_KQED_MANUELORBEGOZO-3-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231101-SCRAPERBIKE_HALLOWEEN_KQED_MANUELORBEGOZO-3-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231101-SCRAPERBIKE_HALLOWEEN_KQED_MANUELORBEGOZO-3-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231101-SCRAPERBIKE_HALLOWEEN_KQED_MANUELORBEGOZO-3-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231101-SCRAPERBIKE_HALLOWEEN_KQED_MANUELORBEGOZO-3-KQED-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Riders convene for the 17th annual Scraper Bike Day and Halloween Bike Ride in Arroyo Viejo Park in Oakland on Oct. 31, 2023. \u003ccite>(Manuel Orbegozo for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Just Get Out of the House\u003c/h2>\n\u003cp>You can remove yourself from the rat race by attending a \u003ca href=\"https://www.eventbrite.com/e/free-burnout-and-overwhelm-workshop-tickets-1347101951199?aff=ebdssbdestsearch\">Free Burnout and Overwhelm Workshop\u003c/a> in San Francisco on May 24. Or dive even deeper into the matrix \u003cem>and\u003c/em> have some say about the interwebs at a \u003ca href=\"https://www.eventbrite.com/e/bay-area-wikipedians-workshop-tickets-1255419045159?aff=ebdssbdestsearch\">Bay Area Wikipedians Workshop\u003c/a>, with meetups in May, June, July and August. \u003c/p>\n\u003cp>You can make mixed media pieces and collages at Oakland’s \u003ca href=\"https://www.mightymightystudio.com/book-online\">Mighty Mighty Studio\u003c/a>. You can \u003ca href=\"https://www.scrap-sf.org/workshops\">learn all about Assemblage at SCRAP\u003c/a>, a creative reuse center in San Francisco. You can build your own Scraper Bike in Deep East Oakland as the \u003ca href=\"https://www.instagram.com/p/DJTHMhDRK-_/\">Scraper Bike team\u003c/a> hosts a week-long workshop at Arroyo Viejo Park in early June. Hell, you can learn to print photos on plants at Vallejo’s \u003ca href=\"https://www.instagram.com/autonomous.gallery\">Autonomous Gallery\u003c/a>. Even the \u003ca href=\"https://artstudio.berkeley.edu/our-classes/\">UC Berkeley Art Studio\u003c/a> has everything from calligraphy to printmaking, with summer classes that run from June 2 until Aug. 3.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Lastly, if nothing else speaks to you? Check out your local library. They have giveaways, events and these things called books … which are kind of like phones! They’re informative, entertaining, and some have images — and they never require charging. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cb>\u003ci>Be sure to check out our full \u003ca href=\"https://www.kqed.org/arts/tag/summer-guide-2025\">2025 Summer Arts Guide to live music, movies, art, theater, festivals and more\u003c/a> in the Bay Area.\u003c/i>\u003c/b>\u003c/p>\n\u003cp>You, reading this: put your phone down! (After you read this, that is.)\u003c/p>\n\u003cp>Our phones are full of stimulating images, sounds, news and entertainment, all packaged in apps and sites strategically designed so we’ll scroll until the world ends or our batteries die — whichever comes first. \u003c/p>\n\u003cp>Research shows that the average person in the U.S. spends an accumulated \u003ca href=\"https://talkerresearch.com/media-consumption-trend-report/\">36 days per year scrolling\u003c/a>. We’re constantly inundated with advertisements, updates from friends and news to make you fear the world outside your door. Even checking the weather app is a walk on the wild side. \u003c/p>\n\u003cp>Well, it’s summer, and in the Bay Area, you already know what that means: brisk foggy mornings, warm afternoons and memorable nights. So stop scrolling. Start seeking adventure, in-person friendships, and solo time. Craft making, sunset chasing. New scars and healthy ways of healing old wounds. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Here are some ways to get your palms on plans that are worthwhile. \u003c/p>\n\u003cfigure id=\"attachment_13903237\" class=\"wp-caption aligncenter\" style=\"max-width: 1616px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Image-from-iOS-12-copy.jpg\" alt=\"Taking some molten glass out of a fiery glory hole in preparation to mold it into a a beautiful object.\" width=\"1616\" height=\"1080\" class=\"size-full wp-image-13903237\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Image-from-iOS-12-copy.jpg 1616w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Image-from-iOS-12-copy-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Image-from-iOS-12-copy-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Image-from-iOS-12-copy-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Image-from-iOS-12-copy-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Image-from-iOS-12-copy-1536x1027.jpg 1536w\" sizes=\"auto, (max-width: 1616px) 100vw, 1616px\">\u003cfigcaption class=\"wp-caption-text\">Taking some molten glass out of a fiery glory hole in preparation to mold it into a a beautiful object. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Glass-Blowing Classes \u003c/h2>\n\u003cp>Glass-blowing is a craft that takes time, concentration and strength. While photos of the process look cool, you won’t want to hold your phone up for a selfie while you’re juggling a glob of liquid glass near an extremely hot oven. Inherent dangers abound, but luckily, safety guides and instructors can guide you along the way. If you’re interested in glass blowing, check out \u003ca href=\"https://www.thecrucible.org/departments/glass-blowing/?gad_source=1&gbraid=0AAAAADjriNi9saI87E32Ui-3-tkeBT3X-&gclid=Cj0KCQjw2tHABhCiARIsANZzDWpOr-4y_k3Y5f8Pf2xDvvznZjDkjQHY9DTDfFotuey7FypfDILPKRUaAnoYEALw_wcB&gclsrc=aw.ds\">The Crucible\u003c/a> in Oakland, \u003ca href=\"https://bagi.org/\">The Bay Area Glass Institute\u003c/a> in San Jose, \u003ca href=\"https://www.artescapesonoma.com/\">Art Escape\u003c/a> in Sonoma or \u003ca href=\"https://www.glasshandstudio.com/classes.php\">Glass Hand Studio\u003c/a> in Alameda. (San Francisco’s \u003ca href=\"https://www.publicglass.org/\">Public Glass\u003c/a> is closed until June 8 for a furnace rebuild, but will resume operations afterward — including classes for kids.)\u003c/p>\n\u003ch2>Ceramics and Pottery Workshops\u003c/h2>\n\u003cp>The thing about throwing clay is that it takes core strength. It takes focus. And it’ll cover your hands with so much clay that you won’t want to pick up your phone, no matter how insane the latest push notification about Washington D.C. might be. Plus, you’ll leave the class with a new piece of tableware, a new lamp or the classic: an ashtray. With locations in San Francisco, Oakland and San Mateo, \u003ca href=\"https://www.clayroomsf.com/\">The Clayroom\u003c/a> offers 6-week classes running from May through June. San Francisco’s \u003ca href=\"https://www.claybythebaysf.com/classes/\">Clay By The Bay\u003c/a> has classes starting May 12, and San Jose’s \u003ca href=\"https://higherfirestudios.com/events-calendar/\">Higher Fire Studios\u003c/a> offer a continuous schedule of classes. Meanwhile in El Cerrito, \u003ca href=\"https://www.mudworks-pottery.com/menu-4\">Mudworks Studios\u003c/a> has classes all summer. \u003c/p>\n\u003cfigure id=\"attachment_13862915\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/DJLamont.MAIN_.jpg\" alt=\"DJ Lamont Young.\" width=\"1920\" height=\"1200\" class=\"size-full wp-image-13862915\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/DJLamont.MAIN_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/DJLamont.MAIN_-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/DJLamont.MAIN_-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/DJLamont.MAIN_-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/DJLamont.MAIN_-1020x638.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/DJLamont.MAIN_-1200x750.jpg 1200w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">DJ Lamont Young. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>DJing\u003c/h2>\n\u003cp>Into stitching things together, but tailored for people’s ears? Try your hand at DJing. In the Mission District, San Francisco fixture \u003ca href=\"https://www.instagram.com/fingersnapsmediaarts/?hl=en\">DJ Lamont\u003c/a> leads a collaborative summertime \u003ca href=\"https://www.fingersnaps.net/learn-to-dj-each-one-teach-one-summer-2025\">“each one teach one” DJing workshop\u003c/a> at Fingersnaps Media, with classes July 9–Aug. 13. Other spots with lessons on the turntables are San Francisco’s \u003ca href=\"https://bluebearmusic.org/classes/dj-electronic-music/\">Blue Bear School of Music\u003c/a> and \u003ca href=\"https://www.washburnstudio.com/dj-courses\">Washburn Studio and Music School\u003c/a>, as well as Oakland’s women-led collective, \u003ca href=\"https://www.herdjclub.com/\">Her DJ Club\u003c/a>. It takes two hands and \u003ca href=\"https://www.youtube.com/watch?v=PQMO3HJkSLA\">deep concentration\u003c/a> — a perfect combo to keep you off your phone.\u003c/p>\n\u003ch2>Sewing, Embroidering and Quiltmaking\u003c/h2>\n\u003cp>What’s a better way to reclaim your screen time than making your own summer clothes?! At Oakland’s \u003ca href=\"https://communityfits.as.me/schedule/e410891c\">Community Fits\u003c/a>, you can “sip and stitch” with the collective or take solo lessons to learn how to hem your new cutoffs. The \u003ca href=\"https://www.creativereuse.org/\">East Bay Depot for Creative Reuse\u003c/a> also offers sewing classes, lessons on embroidering and even a Sashiko mending workshop. And if you’re really looking to invest in the art of threads, \u003ca href=\"https://www.instagram.com/folkfibers/?hl=en\">Maura Ambrose\u003c/a> hosts \u003ca href=\"https://www.eventbrite.com/e/creative-quilting-with-botanical-fabrics-tickets-1328841262989?aff=ebdssbdestsearch\">a day-long quiltmaking event\u003c/a> in Oakland on June 13. \u003c/p>\n\u003cfigure id=\"attachment_13976312\" class=\"wp-caption aligncenter\" style=\"max-width: 1333px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/img_3051.jpg\" alt=\"\" width=\"1333\" height=\"2000\" class=\"size-full wp-image-13976312\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/img_3051.jpg 1333w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/img_3051-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/img_3051-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/img_3051-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/img_3051-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/img_3051-1024x1536.jpg 1024w\" sizes=\"auto, (max-width: 1333px) 100vw, 1333px\">\u003cfigcaption class=\"wp-caption-text\">‘The Dog,’ by Adrian Xuana, at Yerba Buena Gardens in San Francisco. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Public Art\u003c/h2>\n\u003cp>Ok, maybe you’re more of a passive observer. (That’s why you’re scrolling constantly.) We’ve got you covered: outdoor art exhibitions. Out in the Presidio, you can see flowers in bloom, artwork by \u003ca href=\"https://www.instagram.com/favianna1/\">Favianna Rodriguez\u003c/a> and, if fog permits, the Golden Gate Bridge. Across town, Yerba Buena Gardens has become home to \u003ca href=\"https://yerbabuenagardens.org/events/alebrijes-and-nahuales/\">eight different 22-foot tall Alebrijes and Nahuales\u003c/a> designed by seven different artists, on view through June 22. Across the bridge at the \u003ca href=\"https://www.creativeshields.com/marinship-1\">Marin Gateway Shopping Center\u003c/a> and at bus stops in the surrounding area are images depicting \u003ca href=\"https://www.kqed.org/news/11898287/how-black-shipyard-workers-in-marin-helped-win-world-war-ii\">Marinship\u003c/a>, the WWII-era shipbuilding company that once called that town home. And in downtown Oakland on Webster between 14th and 15th, there’s \u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/img_2828.jpg\">a mural inspired by the Bay’s newest professional sports franchise, The Valkyries\u003c/a>. \u003c/p>\n\u003ch2>Gardening\u003c/h2>\n\u003cp>Here’s a way to enjoy the Mediterranean climate of the Bay Area: play in some dirt! Just about every community hosts a community garden, and programs like the \u003ca href=\"http://www.vallejopeoplesgarden.org/p/get-involved.html\">Vallejo People’s Garden\u003c/a> and \u003ca href=\"https://grpg.org/get-involved/volunteer/\">Guadalupe Community Garden\u003c/a> in San Jose give first-timers an opportunity to get their hands in the dirt and learn about horticulture. In the East Bay, there’s \u003ca href=\"https://plantingjustice.org/pages/what-we-do/volunteer\">Planting Justice\u003c/a> and \u003ca href=\"https://docs.google.com/forms/d/e/1FAIpQLSdDg_BIc1iWARFdlnVD_X_R13DKnqCP_cxqaJRhsgZpgsWpig/viewform\">The People’s Garden\u003c/a>, where you can volunteer to work the land, and the UC Berkeley College of Agriculture and Natural Resources offers a \u003ca href=\"https://ucanr.edu/search/all?keys=&sort_by=field_start_date&field_event_date=1&f%5B0%5D=format:live_event&route=events\">series of lectures and workshops\u003c/a> to help anyone looking to grow an even greener thumb. \u003c/p>\n\u003cfigure id=\"attachment_13937346\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231101-SCRAPERBIKE_HALLOWEEN_KQED_MANUELORBEGOZO-3-KQED.jpg\" alt=\"A group of adults and children hang out on bikes at a park.\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13937346\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231101-SCRAPERBIKE_HALLOWEEN_KQED_MANUELORBEGOZO-3-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231101-SCRAPERBIKE_HALLOWEEN_KQED_MANUELORBEGOZO-3-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231101-SCRAPERBIKE_HALLOWEEN_KQED_MANUELORBEGOZO-3-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231101-SCRAPERBIKE_HALLOWEEN_KQED_MANUELORBEGOZO-3-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231101-SCRAPERBIKE_HALLOWEEN_KQED_MANUELORBEGOZO-3-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231101-SCRAPERBIKE_HALLOWEEN_KQED_MANUELORBEGOZO-3-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231101-SCRAPERBIKE_HALLOWEEN_KQED_MANUELORBEGOZO-3-KQED-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Riders convene for the 17th annual Scraper Bike Day and Halloween Bike Ride in Arroyo Viejo Park in Oakland on Oct. 31, 2023. \u003ccite>(Manuel Orbegozo for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Just Get Out of the House\u003c/h2>\n\u003cp>You can remove yourself from the rat race by attending a \u003ca href=\"https://www.eventbrite.com/e/free-burnout-and-overwhelm-workshop-tickets-1347101951199?aff=ebdssbdestsearch\">Free Burnout and Overwhelm Workshop\u003c/a> in San Francisco on May 24. Or dive even deeper into the matrix \u003cem>and\u003c/em> have some say about the interwebs at a \u003ca href=\"https://www.eventbrite.com/e/bay-area-wikipedians-workshop-tickets-1255419045159?aff=ebdssbdestsearch\">Bay Area Wikipedians Workshop\u003c/a>, with meetups in May, June, July and August. \u003c/p>\n\u003cp>You can make mixed media pieces and collages at Oakland’s \u003ca href=\"https://www.mightymightystudio.com/book-online\">Mighty Mighty Studio\u003c/a>. You can \u003ca href=\"https://www.scrap-sf.org/workshops\">learn all about Assemblage at SCRAP\u003c/a>, a creative reuse center in San Francisco. You can build your own Scraper Bike in Deep East Oakland as the \u003ca href=\"https://www.instagram.com/p/DJTHMhDRK-_/\">Scraper Bike team\u003c/a> hosts a week-long workshop at Arroyo Viejo Park in early June. Hell, you can learn to print photos on plants at Vallejo’s \u003ca href=\"https://www.instagram.com/autonomous.gallery\">Autonomous Gallery\u003c/a>. Even the \u003ca href=\"https://artstudio.berkeley.edu/our-classes/\">UC Berkeley Art Studio\u003c/a> has everything from calligraphy to printmaking, with summer classes that run from June 2 until Aug. 3.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Lastly, if nothing else speaks to you? Check out your local library. They have giveaways, events and these things called books … which are kind of like phones! They’re informative, entertaining, and some have images — and they never require charging. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cspan class=\"yt-core-attributed-string--link-inherit-color\" dir=\"auto\">What’s the ideal menu for a dinner party… where all of your exes are invited? Tapas might be the answer — or at least that’s what actor and comedian \u003ca href=\"https://en.wikipedia.org/wiki/Joel_Kim_Booster\">Joel Kim Booster\u003c/a> suggests. \u003c/span>\u003c/p>\n\u003cp>\u003cspan class=\"yt-core-attributed-string--link-inherit-color\" dir=\"auto\">“Quick and easy. Something that I could get in and out of very fast.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan class=\"yt-core-attributed-string--link-inherit-color\" dir=\"auto\">Ever the intrepid journalist, No Crumbs’ Josh Decolongon called up an ex-boyfriend and put this theory to the test at San Francisco tapas spots \u003ca href=\"https://picarocafe.com/\">Picaro\u003c/a> in the Mission District and \u003ca href=\"https://canelasf.com/\">Canela\u003c/a> in The Castro. Is the delicious power of crispy croquetas, tortilla española, and paella de carne enough to wash away the memories of past romance and get them through this dinner?\u003c/span>\u003c/p>\n\u003cp>\u003cspan class=\"yt-core-attributed-string--link-inherit-color\" dir=\"auto\">Listen to the Forum interview: \u003c/span>\u003cspan class=\"yt-core-attributed-string--link-inherit-color\" dir=\"auto\">\u003ca class=\"yt-core-attributed-string__link yt-core-attributed-string__link--call-to-action-color\" href=\"https://www.youtube.com/redirect?event=video_description&redir_token=QUFFLUhqbGU2UzZsdnlZZms3WC1FOHFXejJSTExsVlJHQXxBQ3Jtc0tuWWhnNGZ4RWI3RlUtR0RyNXNZSGI1SHlCUzRLTXdFTlBPRUJNd0lfQmllbDllYkdsdVZ1a2NGM3JWYVNrWXQ3QUw4WGxhel9xTDlNRVdTazhSMHdDV3J5QXFDTzNCa2hjZXFWcWh3c2h0Sjc1NDlXOA&q=https%3A%2F%2Flink.chtbl.com%2FWVw4E3zx&v=sKDiWNAz_T4\" target=\"_blank\" rel=\"nofollow noopener\">https://link.chtbl.com/WVw4E3zx\u003c/a>\u003c/span>\u003c/p>\n\u003cp>Subscribe to KQED Food’s \u003cstrong>\u003ca href=\"http://youtube.com/@KQEDFood?sub_confirmation=1\">YouTube channel\u003c/a> \u003c/strong>and follow us on \u003cstrong>\u003ca href=\"http://instagram.com/KQEDFood\">social\u003c/a>.\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan class=\"yt-core-attributed-string--link-inherit-color\" dir=\"auto\">What’s the ideal menu for a dinner party… where all of your exes are invited? Tapas might be the answer — or at least that’s what actor and comedian \u003ca href=\"https://en.wikipedia.org/wiki/Joel_Kim_Booster\">Joel Kim Booster\u003c/a> suggests. \u003c/span>\u003c/p>\n\u003cp>\u003cspan class=\"yt-core-attributed-string--link-inherit-color\" dir=\"auto\">“Quick and easy. Something that I could get in and out of very fast.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan class=\"yt-core-attributed-string--link-inherit-color\" dir=\"auto\">Ever the intrepid journalist, No Crumbs’ Josh Decolongon called up an ex-boyfriend and put this theory to the test at San Francisco tapas spots \u003ca href=\"https://picarocafe.com/\">Picaro\u003c/a> in the Mission District and \u003ca href=\"https://canelasf.com/\">Canela\u003c/a> in The Castro. Is the delicious power of crispy croquetas, tortilla española, and paella de carne enough to wash away the memories of past romance and get them through this dinner?\u003c/span>\u003c/p>\n\u003cp>\u003cspan class=\"yt-core-attributed-string--link-inherit-color\" dir=\"auto\">Listen to the Forum interview: \u003c/span>\u003cspan class=\"yt-core-attributed-string--link-inherit-color\" dir=\"auto\">\u003ca class=\"yt-core-attributed-string__link yt-core-attributed-string__link--call-to-action-color\" href=\"https://www.youtube.com/redirect?event=video_description&redir_token=QUFFLUhqbGU2UzZsdnlZZms3WC1FOHFXejJSTExsVlJHQXxBQ3Jtc0tuWWhnNGZ4RWI3RlUtR0RyNXNZSGI1SHlCUzRLTXdFTlBPRUJNd0lfQmllbDllYkdsdVZ1a2NGM3JWYVNrWXQ3QUw4WGxhel9xTDlNRVdTazhSMHdDV3J5QXFDTzNCa2hjZXFWcWh3c2h0Sjc1NDlXOA&q=https%3A%2F%2Flink.chtbl.com%2FWVw4E3zx&v=sKDiWNAz_T4\" target=\"_blank\" rel=\"nofollow noopener\">https://link.chtbl.com/WVw4E3zx\u003c/a>\u003c/span>\u003c/p>\n\u003cp>Subscribe to KQED Food’s \u003cstrong>\u003ca href=\"http://youtube.com/@KQEDFood?sub_confirmation=1\">YouTube channel\u003c/a> \u003c/strong>and follow us on \u003cstrong>\u003ca href=\"http://instagram.com/KQEDFood\">social\u003c/a>.\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "pho-vy-oakland-vietnamese-restaurant-closing",
"title": "One of Oakland’s Most Popular Phở Restaurants Is Closing",
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"content": "\u003cp>For the past nine years, Phở Vy has built a dedicated following for its soul-warming noodle soups and trendy fusion tacos. Many Vietnamese food connoisseurs regard it as the very best phở restaurant in Oakland and possibly the entire East Bay.\u003c/p>\n\u003cp>But now, the restaurant is closing, Phở Vy’s owners \u003ca href=\"https://www.instagram.com/p/DIcsdzkJ_Hq/?hl=en\">announced on Instagram\u003c/a> last month. Its last day of business will be May 18.\u003c/p>\n\u003cp>Tuan Nguyen and his wife, Trang Truong, opened Phở Vy in 2016 after closing the smaller phở shop they used to run in Livermore. The new restaurant’s name and \u003ca href=\"https://www.instagram.com/p/BiG9MJaFjQn/?__d=1\">logo\u003c/a> were inspired by the couple’s young niece, Vy, who, as a toddler, was a constant presence in the dining room during those early years. (Now 9, Vy — along with her mom — currently runs a \u003ca href=\"https://www.instagram.com/laniluvcakes/\">cupcake pop-up\u003c/a> out of the restaurant.)\u003c/p>\n\u003cp>As Nguyen recalls, the restaurant got off to a slow start but soon cultivated a loyal, diverse base of customers who appreciated Phở Vy’s family-friendly atmosphere and, of course, the delicious food. The phở alone was light years ahead of the vast majority of Vietnamese spots in Oakland, especially in terms of the richness and clear flavor of the broth. Phở Vy was also one of the only phở restaurants in the East Bay that offered nuoc beo, the scallion-infused rendered beef fat traditionally added to give the soup an extra boost of fattiness, by request.\u003c/p>\n\u003cfigure id=\"attachment_13975960\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13975960\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/PhoVy_SpecialCombination.jpg\" alt=\"Bowl of pho with accompanying herbs against a black background.\" width=\"2000\" height=\"1501\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/PhoVy_SpecialCombination.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/PhoVy_SpecialCombination-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/PhoVy_SpecialCombination-1020x766.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/PhoVy_SpecialCombination-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/PhoVy_SpecialCombination-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/PhoVy_SpecialCombination-1536x1153.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/PhoVy_SpecialCombination-1920x1441.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The restaurant was known for serving one of the best versions of phở in the East Bay. \u003ccite>(Courtesy of Phở Vy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I’ve often said that Bay Area phở lovers \u003ca href=\"https://www.kqed.org/arts/13904835/san-jose-immigrant-food\">really need to drive down to San Jose\u003c/a> to get their hands on a truly excellent bowl of noodles. Phở Vy has the long been the one exception to that rule — the only phở spot in the East Bay I was willing to make a special trip for.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>During the pandemic, Nguyen also started to experiment with fusion recipes inspired by the burgeoning \u003ca href=\"https://sf.eater.com/2019/11/21/20937687/el-garage-quesabirria-birria-taco-richmond-instagram\">quesabirria trend\u003c/a>, as well as his own lifelong love of Mexican food, born out of his childhood in Oakland. Eventually, he started serving \u003ca href=\"https://www.kqed.org/arts/13895488/pho-vy-oakland-vietnamese-tacos-quesabirria-bo-kho\">a riff on quesabirria\u003c/a> that incorporated the restaurant’s other signature dish: bò kho, or Vietnamese beef stew, made using a family recipe from his mother’s hometown of Mỹ Tho in Vietnam. Garnished with fresh herbs and the kind of sweet pickled vegetables you’d put on bánh mì, those beef stew tacos went on to become one of the restaurant’s \u003ca href=\"https://www.sfchronicle.com/food/article/bay-area-quesabirria-17073409.php\">most popular dishes\u003c/a>.\u003c/p>\n\u003cp>“There are times where people would order party trays of it with 300 to 400 tacos per order,” Nguyen says. “It’s been selling like crazy.”\u003c/p>\n\u003cfigure id=\"attachment_13895514\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13895514\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/PhyVyTaco_closeup-scaled.jpg\" alt=\"Closeup of a Vietnamese taco, with stewed beef and pickled carrot and daikon.\" width=\"2560\" height=\"1536\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/PhyVyTaco_closeup-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/PhyVyTaco_closeup-800x480.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/PhyVyTaco_closeup-1020x612.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/PhyVyTaco_closeup-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/PhyVyTaco_closeup-768x461.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/PhyVyTaco_closeup-1536x922.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/PhyVyTaco_closeup-2048x1229.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/PhyVyTaco_closeup-1920x1152.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">A close-up view of the Phở Vy’s bo kho taco. \u003ccite>(Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nguyen describes Phở Vy’s closure as “temporary” and says it was largely motivated by his family’s desire to slow down and take care of their aging parents. Apart from that, the decision was driven by the usual mélange of reasons that have caused other restaurants in Oakland to shut their doors in recent years. A lot of it, Nguyen says, was a growing sense that the stretch of International Boulevard where the restaurant sits might no longer be the best fit: The canopies on their outdoor patio keep getting stolen. The sex work trade on International Boulevard has crept closer to the outside of the restaurant, making some of the young families who dine there uncomfortable. And customers are always telling Nguyen they’re in a rush because they’re worried about car break-ins.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cspan style=\"color: #2b2b2b;font-weight: 400\">[aside postID='arts_13975870,arts_13895488,arts_13905293']\u003c/span>\u003c/span>“Everything adds up,” he says.\u003c/p>\n\u003cp>Through it all, Nguyen says the restaurant has continued to do brisk business — but even then, their margins have gotten thinner as ingredient prices have gone up. Meanwhile, the restaurant’s lease expired last month, and Nguyen and Truong haven’t been able to come to an agreement with the landlord on rent.\u003c/p>\n\u003cp>For now, Nguyen says he feels like they just need to take a break, reset, and then begin looking for a new location — ideally still in Oakland. While the shop is closed, he’ll probably still do some catering and pop-ups (maybe a bò kho taco side business?) to keep himself busy. All told, he imagines the restaurant will stay closed for a year or longer.\u003c/p>\n\u003cp>“It’s all about timing,” he says. “But I have a really good feeling that there’s going to be a reopening.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/phovyoakland/?hl=en\">\u003ci>Phở Vy\u003c/i>\u003c/a>\u003ci> is open 10 a.m.–8 p.m. every day except Thursdays, when the restaurant is closed, at 401 International Blvd. in Oakland. Its final day of business will be Sunday, May 18.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For the past nine years, Phở Vy has built a dedicated following for its soul-warming noodle soups and trendy fusion tacos. Many Vietnamese food connoisseurs regard it as the very best phở restaurant in Oakland and possibly the entire East Bay.\u003c/p>\n\u003cp>But now, the restaurant is closing, Phở Vy’s owners \u003ca href=\"https://www.instagram.com/p/DIcsdzkJ_Hq/?hl=en\">announced on Instagram\u003c/a> last month. Its last day of business will be May 18.\u003c/p>\n\u003cp>Tuan Nguyen and his wife, Trang Truong, opened Phở Vy in 2016 after closing the smaller phở shop they used to run in Livermore. The new restaurant’s name and \u003ca href=\"https://www.instagram.com/p/BiG9MJaFjQn/?__d=1\">logo\u003c/a> were inspired by the couple’s young niece, Vy, who, as a toddler, was a constant presence in the dining room during those early years. (Now 9, Vy — along with her mom — currently runs a \u003ca href=\"https://www.instagram.com/laniluvcakes/\">cupcake pop-up\u003c/a> out of the restaurant.)\u003c/p>\n\u003cp>As Nguyen recalls, the restaurant got off to a slow start but soon cultivated a loyal, diverse base of customers who appreciated Phở Vy’s family-friendly atmosphere and, of course, the delicious food. The phở alone was light years ahead of the vast majority of Vietnamese spots in Oakland, especially in terms of the richness and clear flavor of the broth. Phở Vy was also one of the only phở restaurants in the East Bay that offered nuoc beo, the scallion-infused rendered beef fat traditionally added to give the soup an extra boost of fattiness, by request.\u003c/p>\n\u003cfigure id=\"attachment_13975960\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13975960\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/PhoVy_SpecialCombination.jpg\" alt=\"Bowl of pho with accompanying herbs against a black background.\" width=\"2000\" height=\"1501\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/PhoVy_SpecialCombination.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/PhoVy_SpecialCombination-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/PhoVy_SpecialCombination-1020x766.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/PhoVy_SpecialCombination-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/PhoVy_SpecialCombination-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/PhoVy_SpecialCombination-1536x1153.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/PhoVy_SpecialCombination-1920x1441.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The restaurant was known for serving one of the best versions of phở in the East Bay. \u003ccite>(Courtesy of Phở Vy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I’ve often said that Bay Area phở lovers \u003ca href=\"https://www.kqed.org/arts/13904835/san-jose-immigrant-food\">really need to drive down to San Jose\u003c/a> to get their hands on a truly excellent bowl of noodles. Phở Vy has the long been the one exception to that rule — the only phở spot in the East Bay I was willing to make a special trip for.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>During the pandemic, Nguyen also started to experiment with fusion recipes inspired by the burgeoning \u003ca href=\"https://sf.eater.com/2019/11/21/20937687/el-garage-quesabirria-birria-taco-richmond-instagram\">quesabirria trend\u003c/a>, as well as his own lifelong love of Mexican food, born out of his childhood in Oakland. Eventually, he started serving \u003ca href=\"https://www.kqed.org/arts/13895488/pho-vy-oakland-vietnamese-tacos-quesabirria-bo-kho\">a riff on quesabirria\u003c/a> that incorporated the restaurant’s other signature dish: bò kho, or Vietnamese beef stew, made using a family recipe from his mother’s hometown of Mỹ Tho in Vietnam. Garnished with fresh herbs and the kind of sweet pickled vegetables you’d put on bánh mì, those beef stew tacos went on to become one of the restaurant’s \u003ca href=\"https://www.sfchronicle.com/food/article/bay-area-quesabirria-17073409.php\">most popular dishes\u003c/a>.\u003c/p>\n\u003cp>“There are times where people would order party trays of it with 300 to 400 tacos per order,” Nguyen says. “It’s been selling like crazy.”\u003c/p>\n\u003cfigure id=\"attachment_13895514\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13895514\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/PhyVyTaco_closeup-scaled.jpg\" alt=\"Closeup of a Vietnamese taco, with stewed beef and pickled carrot and daikon.\" width=\"2560\" height=\"1536\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/PhyVyTaco_closeup-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/PhyVyTaco_closeup-800x480.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/PhyVyTaco_closeup-1020x612.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/PhyVyTaco_closeup-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/PhyVyTaco_closeup-768x461.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/PhyVyTaco_closeup-1536x922.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/PhyVyTaco_closeup-2048x1229.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/PhyVyTaco_closeup-1920x1152.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">A close-up view of the Phở Vy’s bo kho taco. \u003ccite>(Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nguyen describes Phở Vy’s closure as “temporary” and says it was largely motivated by his family’s desire to slow down and take care of their aging parents. Apart from that, the decision was driven by the usual mélange of reasons that have caused other restaurants in Oakland to shut their doors in recent years. A lot of it, Nguyen says, was a growing sense that the stretch of International Boulevard where the restaurant sits might no longer be the best fit: The canopies on their outdoor patio keep getting stolen. The sex work trade on International Boulevard has crept closer to the outside of the restaurant, making some of the young families who dine there uncomfortable. And customers are always telling Nguyen they’re in a rush because they’re worried about car break-ins.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cspan style=\"color: #2b2b2b;font-weight: 400\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/span>“Everything adds up,” he says.\u003c/p>\n\u003cp>Through it all, Nguyen says the restaurant has continued to do brisk business — but even then, their margins have gotten thinner as ingredient prices have gone up. Meanwhile, the restaurant’s lease expired last month, and Nguyen and Truong haven’t been able to come to an agreement with the landlord on rent.\u003c/p>\n\u003cp>For now, Nguyen says he feels like they just need to take a break, reset, and then begin looking for a new location — ideally still in Oakland. While the shop is closed, he’ll probably still do some catering and pop-ups (maybe a bò kho taco side business?) to keep himself busy. All told, he imagines the restaurant will stay closed for a year or longer.\u003c/p>\n\u003cp>“It’s all about timing,” he says. “But I have a really good feeling that there’s going to be a reopening.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/phovyoakland/?hl=en\">\u003ci>Phở Vy\u003c/i>\u003c/a>\u003ci> is open 10 a.m.–8 p.m. every day except Thursdays, when the restaurant is closed, at 401 International Blvd. in Oakland. Its final day of business will be Sunday, May 18.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>When \u003ca href=\"https://www.kqed.org/arts/13916721/sucka-free-history-with-dregs-one\">Dregs One\u003c/a> finally met \u003ca href=\"https://www.kqed.org/arts/tag/too-short\">Too Short\u003c/a> face-to-face this past February, during NBA All-Star weekend in San Francisco, the two weren’t exactly strangers. Short, of course, is a Bay Area rap icon, now 22 albums deep in the game — and he’d definitely noticed Dregs’ work to tell the stories of the region’s hip-hop producers, graffiti artists and rap pioneers on his \u003cem>\u003ca href=\"https://creators.spotify.com/pod/profile/historyofthebay/\">History of the Bay\u003c/a>\u003c/em> podcast.\u003c/p>\n\u003cp>It was only fitting, then, that Too Short be the guest on the landmark 100th episode of \u003cem>History of the Bay\u003c/em> — an appearance that Dregs tells KQED has been a longtime goal. Short’s been “very supportive since the beginning, in terms of commenting, sharing and engaging on social media,” allowing for what’s usually an hour- or hour-and-a-half-long conversation on the podcast to last for more than two hours.\u003c/p>\n\u003cp>[aside postID='arts_13916721']It’s the culmination of a long road for \u003cem>History of the Bay\u003c/em>, which began in early 2022 as short TikToks. Onscreen, Dregs would summarize entire careers or scenes in in 60 seconds or less. (The first two? Graffiti spot Psycho City and Tupac Shakur.) Some blew up with as many as half a million views, and six months later, the podcast was born — a way to stretch out beyond TikTok’s time limitations and hear from the artists themselves.\u003c/p>\n\u003cp>Now, Dregs is expanding yet again. Episode No. 101 will feature actor Danny Glover, and Dregs wants to host more actors, activists, journalists and musicians of different genres on \u003cem>History of the Bay\u003c/em>.\u003c/p>\n\u003cp>“I’d actually be interested in like, regular people. School teachers!” Dregs says. “I want to get this podcast to where it doesn’t really matter who I have on, the audience is strong enough to trust me to know that whatever story gets told will be interesting.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postID='arts_13973907']It’s also been a time of literal expansion for the podcast, which recently moved to the office of record label EMPIRE, whose sponsorship comes with a small production team, including videographer Trevor Potter and production manager Jazmin Ontiveros. Having the support of EMPIRE’s CEO Ghazi Shami “really means a lot to me,” Dregs says. “This culture is important to him.”\u003c/p>\n\u003cp>And while reporting on said culture can involve egos, beef and grudges, Dregs has enough street knowledge to sidestep them (“it’s really served me well by going out of my way to not be messy,” he says). He intersperses interviews of rappers like Philthy Rich, Messy Marv and LaRussell with graphic designers like \u003ca href=\"https://www.youtube.com/watch?v=ZErUFFA8SR0\">Shemp\u003c/a> or personal injury billboard queen \u003ca href=\"https://www.youtube.com/watch?v=xc531VHZUN4\">Anh Phoong\u003c/a>. And, for October, he’s already planning a return of the \u003ca href=\"https://www.kqed.org/arts/13931387/photos-history-of-the-bay-day-party-dregs-one-review\">\u003cem>History of the Bay\u003c/em> live event\u003c/a> at the Midway in San Francisco.\u003c/p>\n\u003cp>As for what the podcast might look like another 100 episodes from now, Dregs says he just wants to continue pushing Bay Area culture to an international audience, “so they learn about the Bay and start appreciating it more.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘History of the Bay’ drops new episodes weekly, and can be found on \u003ca href=\"https://creators.spotify.com/pod/profile/historyofthebay/\">podcast platforms\u003c/a> and \u003ca href=\"https://www.youtube.com/playlist?list=PLrcnRVZo1Y9S-8xIlv8knxRcYwCqsu1OC\">YouTube\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "With a new studio and broader focus, Dregs One is committed to bringing Bay Area street culture to the world.",
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"headline": "After 100 Episodes, ‘History of the Bay’ Expands Its Horizons",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When \u003ca href=\"https://www.kqed.org/arts/13916721/sucka-free-history-with-dregs-one\">Dregs One\u003c/a> finally met \u003ca href=\"https://www.kqed.org/arts/tag/too-short\">Too Short\u003c/a> face-to-face this past February, during NBA All-Star weekend in San Francisco, the two weren’t exactly strangers. Short, of course, is a Bay Area rap icon, now 22 albums deep in the game — and he’d definitely noticed Dregs’ work to tell the stories of the region’s hip-hop producers, graffiti artists and rap pioneers on his \u003cem>\u003ca href=\"https://creators.spotify.com/pod/profile/historyofthebay/\">History of the Bay\u003c/a>\u003c/em> podcast.\u003c/p>\n\u003cp>It was only fitting, then, that Too Short be the guest on the landmark 100th episode of \u003cem>History of the Bay\u003c/em> — an appearance that Dregs tells KQED has been a longtime goal. Short’s been “very supportive since the beginning, in terms of commenting, sharing and engaging on social media,” allowing for what’s usually an hour- or hour-and-a-half-long conversation on the podcast to last for more than two hours.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>It’s the culmination of a long road for \u003cem>History of the Bay\u003c/em>, which began in early 2022 as short TikToks. Onscreen, Dregs would summarize entire careers or scenes in in 60 seconds or less. (The first two? Graffiti spot Psycho City and Tupac Shakur.) Some blew up with as many as half a million views, and six months later, the podcast was born — a way to stretch out beyond TikTok’s time limitations and hear from the artists themselves.\u003c/p>\n\u003cp>Now, Dregs is expanding yet again. Episode No. 101 will feature actor Danny Glover, and Dregs wants to host more actors, activists, journalists and musicians of different genres on \u003cem>History of the Bay\u003c/em>.\u003c/p>\n\u003cp>“I’d actually be interested in like, regular people. School teachers!” Dregs says. “I want to get this podcast to where it doesn’t really matter who I have on, the audience is strong enough to trust me to know that whatever story gets told will be interesting.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>It’s also been a time of literal expansion for the podcast, which recently moved to the office of record label EMPIRE, whose sponsorship comes with a small production team, including videographer Trevor Potter and production manager Jazmin Ontiveros. Having the support of EMPIRE’s CEO Ghazi Shami “really means a lot to me,” Dregs says. “This culture is important to him.”\u003c/p>\n\u003cp>And while reporting on said culture can involve egos, beef and grudges, Dregs has enough street knowledge to sidestep them (“it’s really served me well by going out of my way to not be messy,” he says). He intersperses interviews of rappers like Philthy Rich, Messy Marv and LaRussell with graphic designers like \u003ca href=\"https://www.youtube.com/watch?v=ZErUFFA8SR0\">Shemp\u003c/a> or personal injury billboard queen \u003ca href=\"https://www.youtube.com/watch?v=xc531VHZUN4\">Anh Phoong\u003c/a>. And, for October, he’s already planning a return of the \u003ca href=\"https://www.kqed.org/arts/13931387/photos-history-of-the-bay-day-party-dregs-one-review\">\u003cem>History of the Bay\u003c/em> live event\u003c/a> at the Midway in San Francisco.\u003c/p>\n\u003cp>As for what the podcast might look like another 100 episodes from now, Dregs says he just wants to continue pushing Bay Area culture to an international audience, “so they learn about the Bay and start appreciating it more.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘History of the Bay’ drops new episodes weekly, and can be found on \u003ca href=\"https://creators.spotify.com/pod/profile/historyofthebay/\">podcast platforms\u003c/a> and \u003ca href=\"https://www.youtube.com/playlist?list=PLrcnRVZo1Y9S-8xIlv8knxRcYwCqsu1OC\">YouTube\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "freaky-tales-true-stories-pedro-pascal-too-short-924-gilman-oakland",
"title": "The Real-Life Tales Behind ‘Freaky Tales’",
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"content": "\u003cp>It was not your usual Wednesday night at the \u003ca href=\"https://www.kqed.org/arts/tag/grand-lake-theatre\">Grand Lake Theatre\u003c/a>.\u003c/p>\n\u003cp>Outside Oakland’s movie palace last month, Hollywood actors made their way down the red carpet. Rap legends and punk OGs mingled beneath the marquee. Fans got on their tiptoes behind the line of TV cameras, jockeying for a glimpse of the film’s star, Pedro Pascal.\u003c/p>\n\u003cp>Premieres at the Grand Lake are always exciting, but they’re extra special when the movie is \u003ca href=\"https://www.kqed.org/arts/13974034/freaky-tales-movie-easter-eggs-locations-cameos-oakland\">filmed and set in Oakland\u003c/a>. \u003cem>Freaky Tales\u003c/em>, from screenwriting and directing team Ryan Fleck and Anna Boden (\u003cem>Half Nelson, Captain Marvel\u003c/em>), is a revenge-fantasy flick that takes place in the year 1987. It’s filmed at Oakland landmarks, including the Oakland Coliseum, Giant Burger and the old Loard’s ice cream parlor on Coolidge and MacArthur. Marshawn Lynch and Rancid’s Tim Armstrong make cameos, as does Oakland rap icon \u003ca href=\"https://www.kqed.org/arts/tag/too-short\">Too Short\u003c/a>, who narrates and helped produce the film. It opens in wide release Friday.\u003c/p>\n\u003cfigure id=\"attachment_13973843\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13973843\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-114-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-114-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-114-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-114-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-114-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-114-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-114-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-114-KQED-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Fans crowd the sidewalk for the ‘Freaky Tales’ special screening at the Grand Lake Theater in Oakland on March 19, 2025. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13973838\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13973838\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-73-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-73-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-73-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-73-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-73-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-73-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-73-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-73-KQED-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Pedro Pascal poses on the red carpet before the ‘Freaky Tales’ premiere at the Grand Lake Theater in Oakland on March 19, 2025. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s full, in other words, of \u003ca href=\"https://www.kqed.org/arts/13974034/freaky-tales-movie-easter-eggs-locations-cameos-oakland\">people and locations that carry name recognition for locals\u003c/a>. But nationally, Oakland has never quite received proper credit for its contributions to American culture at large. As rapper \u003ca href=\"https://www.kqed.org/arts/13921058/watch-rising-oakland-rap-star-symbas-tiny-desk-concert\">Symba\u003c/a>, who plays Too Short in the film, remarked on the red carpet, “People get their curations, their whole make-up, from things that we created here.”\u003c/p>\n\u003cp>\u003cem>Freaky Tales\u003c/em>, then, is a movie about a town with a permanent underdog complex — and, fittingly, it’s told through different chapters, interconnected by Pascal’s performance as a hitman, that have underdogs as their heroes. A ragtag bunch of pacifist punk rockers beats up a crew of Nazi skinheads. Two teenage girls in a rap battle rip to shreds a rapper known for objectifying women. A basketball point guard comes alive for a mind-blowing fourth quarter in a historic comeback win.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The freakiest thing of all? These are events that really happened.\u003c/p>\n\u003cfigure id=\"attachment_13973913\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13973913\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/FT_01151RC2.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/FT_01151RC2.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/FT_01151RC2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/FT_01151RC2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/FT_01151RC2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/FT_01151RC2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/FT_01151RC2-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/FT_01151RC2-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jay Ellis as Sleepy Floyd in ‘Freaky Tales,’ surrounded by other actors in a scene outside the Oakland Coliseum. \u003ccite>(Lionsgate Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In many cases, thankfully, the events depicted in \u003cem>Freaky Tales\u003c/em> involved people who are still around to witness what likely seemed impossible 38 years ago: a Hollywood movie with Oakland as its true star. Here are some of their real-life tales.\u003c/p>\n\u003ch2>Punching Nazis: A punk love story\u003c/h2>\n\u003cp>The first chapter of \u003cem>Freaky Tales\u003c/em> follows young couple Tina (Ji-young Yoo) and Lucid (Jack Champion) as they navigate an increasing menace to their home-base punk collective of \u003ca href=\"https://www.kqed.org/arts/tag/924-gilman\">924 Gilman\u003c/a>: neo-Nazi skinheads, who barge into shows, knock people to the ground, assault girls and women and destroy band equipment.\u003c/p>\n\u003cp>After taking a vote led by security guard Greg (LeQuan Antonio Bennett), the punks decide to fight back. During an Operation Ivy show at the Berkeley club, the Nazi skinheads return, but this time they’re met by a wall of punks armed with bats, chains and trash can lids. Battered in the ensuing brawl, the defeated Nazis pile into their smashed and dented pickup truck and drive away to the El Cerrito hills.\u003c/p>\n\u003cfigure id=\"attachment_13973920\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13973920\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/SkinheadLineup.jpg\" alt=\"\" width=\"2000\" height=\"1499\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/SkinheadLineup.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/SkinheadLineup-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/SkinheadLineup-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/SkinheadLineup-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/SkinheadLineup-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/SkinheadLineup-1536x1151.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/SkinheadLineup-1920x1439.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A group of Nazi skinheads approaches punk club 924 Gilman in a scene from ‘Freaky Tales.’ \u003ccite>(Lionsgate Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13973928\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13973928\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/GILMAN-143.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/GILMAN-143.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/GILMAN-143-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/GILMAN-143-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/GILMAN-143-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/GILMAN-143-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/GILMAN-143-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/GILMAN-143-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">In 1987, skinheads caused trouble at punk shows around the country, including at 924 Gilman in Berkeley, pictured. \u003ccite>(Murray Bowles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Minus a few details, the chapter is remarkably true to real-life events. Fleck and Boden had a good roadmap: the fight is recalled at length in \u003ca href=\"https://www.kqed.org/arts/13239750/the-definitive-documentary-on-east-bay-punk-is-coming-pit-warning\">the East Bay punk documentary \u003cem>Turn It Around\u003c/em>\u003c/a>, directed by Gilman alum Corbett Redford, who came on as a technical advisor for the film.\u003c/p>\n\u003cp>“Greg” in the film is based on George Stephens, a.k.a. George Hated, who in 1987 lived in West Oakland, sang in the band The Hated and served as head of security at Gilman. In an interview, Stephens, now 57, recalled walking out to the sidewalk that night and seeing Nondo, his friend who was also working security, lying in the gutter outside the front door.\u003c/p>\n\u003cp>[aside postID='arts_13974034']“And there were three Nazis standing over him, one holding a bat. So I grabbed the bat out of the guy’s hands and hit the three of them, got Nondo up, and got him inside,” Stephens said.\u003c/p>\n\u003cp>On any other night, that might have been the end of it. But just like in the film, the punks at Gilman who’d vowed to fight emptied into the street. Even Dave Dictor, the singer of “peace-punk” band MDC, who were headlining that night, joined in wielding an aluminum crutch.\u003c/p>\n\u003cp>“More people came out, and it turned into an absolute mess,” said Stephens.\u003c/p>\n\u003cfigure id=\"attachment_13973959\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13973959\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/250401-VARIOUS-FREAKY-TALES-MD-07-KQED-2.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/250401-VARIOUS-FREAKY-TALES-MD-07-KQED-2.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/250401-VARIOUS-FREAKY-TALES-MD-07-KQED-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/250401-VARIOUS-FREAKY-TALES-MD-07-KQED-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/250401-VARIOUS-FREAKY-TALES-MD-07-KQED-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/250401-VARIOUS-FREAKY-TALES-MD-07-KQED-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/250401-VARIOUS-FREAKY-TALES-MD-07-KQED-2-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/250401-VARIOUS-FREAKY-TALES-MD-07-KQED-2-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">George Stephens today, pictured in Alameda on April 1, 2025. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kamala Parks, who co-founded Gilman and drummed in several bands, remembered the nuanced deliberations about retaliating against Nazis among volunteers at the club, whose door rules stated “No Fighting.”\u003c/p>\n\u003cp>“A lot of folks who had previously taken a more pacifist standpoint had been convinced to fight back, mainly because skinhead violence had gotten more pronounced,” she said. (Parks herself had been punched in the face by a skinhead during a previous melee across town.)\u003c/p>\n\u003cp>By the end of the brawl outside Gilman, the punks had won. They even chased the Nazis across the street and smashed up their pickup truck before the skinheads sped away, fleeing.\u003c/p>\n\u003cfigure id=\"attachment_13973986\" class=\"wp-caption aligncenter\" style=\"max-width: 1025px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13973986\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Kamla.Flyer_.George.Rules_.jpg\" alt=\"\" width=\"1025\" height=\"1319\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Kamla.Flyer_.George.Rules_.jpg 1025w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Kamla.Flyer_.George.Rules_-800x1029.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Kamla.Flyer_.George.Rules_-1020x1313.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Kamla.Flyer_.George.Rules_-160x206.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Kamla.Flyer_.George.Rules_-768x988.jpg 768w\" sizes=\"auto, (max-width: 1025px) 100vw, 1025px\">\u003cfigcaption class=\"wp-caption-text\">(Clockwise from upper left) Kamala Parks drums with Cringer at 924 Gilman in 1990; the flyer for the show at Gilman on the night of the Nazi brawl, May 17, 1987; George Hated sings with the Hated at Gilman in 1992; rules posted at Gilman’s front door. \u003ccite>(Murray Bowles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“My heart was pounding right out of my chest,” Dave Dictor, MDC’s singer, recalled in \u003ca href=\"https://www.goodreads.com/book/show/29363293-mdc\">his 2016 autobiography\u003c/a>. “Right after the battle it was time to get on stage and sing, but I was too numb to be able to change gears to talk about it from the stage. As I remember, we just plowed through the set.”\u003c/p>\n\u003cp>Those mixed emotions were real, Parks said. “There was euphoria, but there’s dread, because you don’t know what’s going to happen next. You don’t know if they’re going to come back with a bigger group of people.”\u003c/p>\n\u003cfigure id=\"attachment_13973991\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13973991 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/250401-VARIOUS-FREAKY-TALES-MD-05-KQED-4.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/250401-VARIOUS-FREAKY-TALES-MD-05-KQED-4.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/250401-VARIOUS-FREAKY-TALES-MD-05-KQED-4-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/250401-VARIOUS-FREAKY-TALES-MD-05-KQED-4-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/250401-VARIOUS-FREAKY-TALES-MD-05-KQED-4-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/250401-VARIOUS-FREAKY-TALES-MD-05-KQED-4-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/250401-VARIOUS-FREAKY-TALES-MD-05-KQED-4-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/250401-VARIOUS-FREAKY-TALES-MD-05-KQED-4-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Kamala Parks today, pictured in downtown Oakland on April 1, 2025. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Parks stayed on edge for a few weeks afterward. Amazingly, the Nazis never came back to Gilman.\u003c/p>\n\u003cp>As Stephens points out, though, they never went away for good.\u003c/p>\n\u003cp>“I mean, we live in America,” Stephens said. “It’s not surprising that the Proud Boys are back. That fringe has never really gone away in America.”\u003c/p>\n\u003cfigure id=\"attachment_13973946\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13973946\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/250401-VARIOUS-FREAKY-TALES-MD-08-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/250401-VARIOUS-FREAKY-TALES-MD-08-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/250401-VARIOUS-FREAKY-TALES-MD-08-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/250401-VARIOUS-FREAKY-TALES-MD-08-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/250401-VARIOUS-FREAKY-TALES-MD-08-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/250401-VARIOUS-FREAKY-TALES-MD-08-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/250401-VARIOUS-FREAKY-TALES-MD-08-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/250401-VARIOUS-FREAKY-TALES-MD-08-KQED-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">924 Gilman St. in Berkeley on April 1, 2025. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>You want a bit of danger, step into my zone\u003c/h2>\n\u003cp>“Ryan will tell you, he’s been pitching me a version of \u003cem>Freaky Tales\u003c/em> for literally 15 years,” said Anna Boden, the film’s co-writer and co-director, in an interview. Her filmmaking partner, Ryan Fleck, grew up in Oakland; Boden in Massachusetts.\u003c/p>\n\u003cp>“And he grew up listening to Too Short’s music and I did not. And so I was listening to Too Short’s music for the first time as a grown woman. And it was, like, a \u003cem>very\u003c/em> different experience for me than it was for Ryan,” she said of Short’s explicit and often misogynist subject material.\u003c/p>\n\u003cfigure id=\"attachment_13973969\" class=\"wp-caption aligncenter\" style=\"max-width: 1208px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13973969\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Short.FreddyB.jpg\" alt=\"\" width=\"1208\" height=\"598\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Short.FreddyB.jpg 1208w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Short.FreddyB-800x396.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Short.FreddyB-1020x505.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Short.FreddyB-160x79.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Short.FreddyB-768x380.jpg 768w\" sizes=\"auto, (max-width: 1208px) 100vw, 1208px\">\u003cfigcaption class=\"wp-caption-text\">Too Short on the cover of his single ‘Freaky Tales,’ circa 1988; at right, Short’s early rap partner Freddy B in 1992. \u003ccite>(Dangerous Music/Serious Sounds)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But one song stuck out for Boden. In “\u003ca href=\"https://www.youtube.com/watch?v=MfSYngzHOsY\">Don’t Fight the Feelin’\u003c/a>” from the 1989 album \u003cem>Life Is… Too Short\u003c/em>, Short trades verses with a female rap duo called Danger Zone, who insult his bankroll, poke fun at his bad breath and make repeated references to his size below the belt: “Do they call you Short because of your height or your width? / Diss me boy, I’ll hang your balls from a cliff.”\u003c/p>\n\u003cp>Boden knew she had found her entry to the story. “Hearing him allow himself to be taken down by these young women was kind of mind-blowing to me,” she said.\u003c/p>\n\u003cp>In the film, Barbie and Entice from Danger Zone are approached by Lenny G (the rapper Stunnaman02, in a role based on Short’s early rap partner \u003ca href=\"http://www.kqed.org/bayareahiphop/timeline#too-short-and-freddy-b-start-making-handmade-tapes\">Freddy B\u003c/a>) to battle Short onstage at the Town’s hottest nightclub, Sweet Jimmie’s. Dubious of the proposition, but tired of being mistreated at their day job scooping ice cream, they accept.\u003c/p>\n\u003cfigure id=\"attachment_13973921\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13973921\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/FT_00825RC2.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/FT_00825RC2.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/FT_00825RC2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/FT_00825RC2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/FT_00825RC2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/FT_00825RC2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/FT_00825RC2-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/FT_00825RC2-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Dominique Thorne and Normani as Danger Zone’s Barbie and Entice in a scene from ‘Freaky Tales.’ \u003ccite>(Lionsgate Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The song unfolds in a thrilling scene, verse for verse, with actor and rapper Symba portraying Short’s hunched gait and coy taunting. (Symba asked Short for pointers, “and he sent me four videos, and was like, ‘Just embody this, and you’ll be alright,’” he said.) Danger Zone, meanwhile, keep coming back with heat, and win over the crowd. By the end, Short daps up the girls, conceding a draw, if not defeat.\u003c/p>\n\u003cp>In reality, “Don’t Fight the Feelin’” came together in the studio, not on stage.\u003c/p>\n\u003cp>Today, Tamra Goins is a talent agent in L.A. But in 1987, she was Entice — the 15-year-old East Oakland girl who linked up with her cousin, Bailey Brown, to form Danger Zone. They’d met Short through \u003ca href=\"https://www.kqed.org/arts/13934715/kimmie-fresh-real-freaky-tales-oakland\">the female rap pioneer Kimmie Fresh\u003c/a> years before recording “Don’t Fight the Feelin’,” she said in an interview. Danger Zone had even been signed to Short’s Dangerous Music label, which released their song “\u003ca href=\"https://www.youtube.com/watch?v=SvMjOBASvbc\">Jailbait\u003c/a>,” a blunt warning to underage girls about predatory men.\u003c/p>\n\u003cfigure id=\"attachment_13973922\" class=\"wp-caption aligncenter\" style=\"max-width: 944px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13973922\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/DangerZone.jpg\" alt=\"\" width=\"944\" height=\"808\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/DangerZone.jpg 944w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/DangerZone-800x685.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/DangerZone-160x137.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/DangerZone-768x657.jpg 768w\" sizes=\"auto, (max-width: 944px) 100vw, 944px\">\u003cfigcaption class=\"wp-caption-text\">Fifteen-year-old cousins Bailey Brown and Tamra Goins, a.k.a. Barbie and Entice of Danger Zone, pictured in 1988. \u003ccite>(Dangerous Music)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When Short’s manager, Randy Austin, pitched the concept for “Don’t Fight the Feelin’” to be included on Short’s next full-length album, Goins was hesitant, just like her character in the movie.\u003c/p>\n\u003cp>“We’re terrified, right? Because one, we’re kids. Two, Short was known to call people head doctors. I think I was still a virgin! So we just were terrified of what he could possibly say,” Goins said.\u003c/p>\n\u003cp>Laying down the track at engineer Al Eaton’s One Little Indian studio in Richmond — essentially Eaton’s living room — Goins and Brown came for Short so viciously that the men present, like rappers Spice 1 and Rappin’ 4-Tay, kept laughing and ruining the take. “They’re running out of the house, cracking up, laughing,” said Goins. “We can’t even get through it!”\u003c/p>\n\u003cfigure id=\"attachment_13973836\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13973836\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-33-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-33-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-33-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-33-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-33-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-33-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-33-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-33-KQED-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Co-director Ryan Fleck high-fives Tamra Goins, a.k.a. Entice from Danger Zone, ahead of the ‘Freaky Tales’ premiere at the Grand Lake Theater in Oakland on March 19, 2025. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Short was similarly unprepared for Danger Zone’s verses.\u003c/p>\n\u003cp>“We made the song, I did my two verses. And it was supposed to be about an old dude pullin’ up in his car flirting with these young girls,” Short explained on Nick Cannon’s \u003cem>We Playin’ Spades\u003c/em> podcast. “My verse was kinda nice. And they came back rippin’ me to shreds!”\u003c/p>\n\u003cp>[aside postID='arts_13934715']Short was rattled, but “I went home and listened to it, and I was like, ‘Damn, this is kind of cool … let me go back and talk a lotta shit about \u003cem>them\u003c/em>, and it’ll be a crazy song!’’\u003c/p>\n\u003cp>After redoing his verses to match Danger Zone’s venom and adding Rappin’ 4-Tay to the track, the song grew to a ridiculous length of over 8 minutes. \u003ca href=\"http://www.kqed.org/bayareahiphop/timeline#kimmie-fresh-answers-too-shorts-freaky-tales-with-the-girls-story\">Kimmie Fresh had released her own eight-minute diss track to Short\u003c/a>, but this was men and women on the same song, a battle of the sexes on wax. Short knew it was gold.\u003c/p>\n\u003cfigure id=\"attachment_13973963\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13973963\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/GettyImages-1943659116.jpg\" alt=\"\" width=\"2000\" height=\"1213\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/GettyImages-1943659116.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/GettyImages-1943659116-800x485.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/GettyImages-1943659116-1020x619.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/GettyImages-1943659116-160x97.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/GettyImages-1943659116-768x466.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/GettyImages-1943659116-1536x932.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/GettyImages-1943659116-1920x1164.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Danger Zone’s Tamra Goins (Entice) at far left, and Bailey Brown (Barbie) third from left, in a group photo of the cast and crew of ‘Freaky Tales’ at the Sundance Film Festival in January 2024. \u003ccite>(Dia Dipasupil/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite the song’s legendary status, Danger Zone never performed “Don’t Fight the Feelin’” live onstage with Short, as depicted in \u003cem>Freaky Tales\u003c/em>. (Goins and Short have done the song without Brown a handful of times at cruises and sorority events.) Brown, who later traveled the world as a dancer for MC Hammer, \u003ca href=\"https://www.tiktok.com/@getaroundwithbaileybrown\">currently lives in Ghana\u003c/a> most of the year, scriptwriting and producing.\u003c/p>\n\u003cp>Now 53, Goins is proud of the song’s longevity among fans like Shaquille O’Neal, who lovingly \u003ca href=\"https://youtu.be/APrhXcftYPs?feature=shared&t=204\">goaded her into performing it on \u003cem>Sway’s Universe\u003c/em> in 2011\u003c/a>. But it comes with a dash of concern for her former 15-year-old self, rapping so brazenly amid the older pimps and players that inspired “Jailbait.”\u003c/p>\n\u003cp>“Sometimes I’ll look back at the lyrics and I go, ‘Oh!’” she said. “I’m a mom now. I’ll be like, ‘And why was your name \u003cem>Entice\u003c/em>?’”\u003c/p>\n\u003cfigure id=\"attachment_13973926\" class=\"wp-caption aligncenter\" style=\"max-width: 1427px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13973926\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/SleepyFloyd.May101987.jpg\" alt=\"\" width=\"1427\" height=\"1884\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/SleepyFloyd.May101987.jpg 1427w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/SleepyFloyd.May101987-800x1056.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/SleepyFloyd.May101987-1020x1347.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/SleepyFloyd.May101987-160x211.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/SleepyFloyd.May101987-768x1014.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/SleepyFloyd.May101987-1163x1536.jpg 1163w\" sizes=\"auto, (max-width: 1427px) 100vw, 1427px\">\u003cfigcaption class=\"wp-caption-text\">The Golden State Warriors’ Eric ‘Sleepy’ Floyd drives to the basket past Los Angeles Lakers’ James Worthy during their playoff game at the Oakland Arena on May 10, 1987. Floyd scored an NBA playoff record-setting 29 points in the fourth quarter, 12 field goals in the same quarter and 39 points in a half, to lead the Warriors to a 129-121 victory over the Lakers. \u003ccite>(Gary Reyes/Oakland Tribune via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A warrior in more ways than one\u003c/h2>\n\u003cp>\u003cem>Freaky Tales\u003c/em>’ final chapter revolves around a story so well-known that it’s in the record books. In Game 4 of the 1987 NBA playoffs, the \u003ca href=\"https://www.kqed.org/arts/tag/warriors\">Warriors\u003c/a> were down 3-0 against the Lakers and trailed 102-88 going into the fourth quarter.\u003c/p>\n\u003cp>Out of nowhere, Eric “Sleepy” Floyd roared into action, scoring 29 points in the fourth quarter to propel the Warriors to victory. Game announcer Greg Papa, baffled and slightly hoarse, was moved to exclaim, “\u003ca href=\"https://youtu.be/u1sVoWIhUKg?feature=shared&t=135\">Sleepy Floyd is Superman!\u003c/a>”\u003c/p>\n\u003cp>It still stands today as the NBA postseason record for the most points scored by a player in a single quarter.\u003c/p>\n\u003cfigure id=\"attachment_13973835\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13973835\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-7-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-7-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-7-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-7-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-7-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-7-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-7-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-7-KQED-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Eric ‘Sleepy’ Floyd enters the ‘Freaky Tales’ premiere at the Grand Lake Theater in Oakland on March 19, 2025. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Outside the Grand Lake last month, Sleepy Floyd seemed surprised and humbled that his achievement is now part of a Hollywood film. Calling \u003cem>Freaky Tales\u003c/em> “a love song to Oakland,” the point guard, now 65 and living in his home state of North Carolina, remarked that “just to have it centered around that game, truly I’m just blessed and honored to be a part of it.”\u003c/p>\n\u003cp>Floyd, who in the same matchup against the Lakers also set the record for the most points scored in a half of a playoff game with 39, is portrayed in \u003cem>Freaky Tales\u003c/em> by Jay Ellis (\u003cem>Insecure, Top Gun: Maverick\u003c/em>). Without giving away too much, Sleepy Floyd becomes the star of the film’s climax, diverging drastically from real-life events, complete with supernatural samurai skills.\u003c/p>\n\u003cp>“They made me look a lot cooler than I actually am,” Floyd said with a chuckle.\u003c/p>\n\u003cfigure id=\"attachment_13973842\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13973842\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-110-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-110-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-110-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-110-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-110-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-110-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-110-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-110-KQED-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The ‘Freaky Tales’ cast, with Pedro Pascal and Jay Ellis at center, pose on the red carpet ahead of the Oakland premiere at the Grand Lake Theater on March 19, 2025. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Gilman punks’ beatdown, Danger Zone’s dominance, Sleepy Floyd’s fireworks — \u003cem>Freaky Tales\u003c/em> makes clear to a nationwide moviegoing audience what Oakland has always known about itself: this is a place of amazing people, events and stories.\u003c/p>\n\u003cp>Asked about Oakland on the red carpet at the Grand Lake premiere, Pedro Pascal put it simply: “It’s the raddest city in the world.”\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘Freaky Tales’ opens in wide release on Friday, April 4. \u003c/em>\u003c/p>\n\n",
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"title": "‘Freaky Tales’ Is Based on These Crazy-But-True Stories From Oakland | KQED",
"description": "The new Pedro Pascal movie depicts a Nazi beatdown, a rap battle and a hoops miracle — all of which actually happened in 1987.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It was not your usual Wednesday night at the \u003ca href=\"https://www.kqed.org/arts/tag/grand-lake-theatre\">Grand Lake Theatre\u003c/a>.\u003c/p>\n\u003cp>Outside Oakland’s movie palace last month, Hollywood actors made their way down the red carpet. Rap legends and punk OGs mingled beneath the marquee. Fans got on their tiptoes behind the line of TV cameras, jockeying for a glimpse of the film’s star, Pedro Pascal.\u003c/p>\n\u003cp>Premieres at the Grand Lake are always exciting, but they’re extra special when the movie is \u003ca href=\"https://www.kqed.org/arts/13974034/freaky-tales-movie-easter-eggs-locations-cameos-oakland\">filmed and set in Oakland\u003c/a>. \u003cem>Freaky Tales\u003c/em>, from screenwriting and directing team Ryan Fleck and Anna Boden (\u003cem>Half Nelson, Captain Marvel\u003c/em>), is a revenge-fantasy flick that takes place in the year 1987. It’s filmed at Oakland landmarks, including the Oakland Coliseum, Giant Burger and the old Loard’s ice cream parlor on Coolidge and MacArthur. Marshawn Lynch and Rancid’s Tim Armstrong make cameos, as does Oakland rap icon \u003ca href=\"https://www.kqed.org/arts/tag/too-short\">Too Short\u003c/a>, who narrates and helped produce the film. It opens in wide release Friday.\u003c/p>\n\u003cfigure id=\"attachment_13973843\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13973843\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-114-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-114-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-114-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-114-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-114-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-114-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-114-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-114-KQED-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Fans crowd the sidewalk for the ‘Freaky Tales’ special screening at the Grand Lake Theater in Oakland on March 19, 2025. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13973838\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13973838\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-73-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-73-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-73-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-73-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-73-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-73-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-73-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-73-KQED-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Pedro Pascal poses on the red carpet before the ‘Freaky Tales’ premiere at the Grand Lake Theater in Oakland on March 19, 2025. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s full, in other words, of \u003ca href=\"https://www.kqed.org/arts/13974034/freaky-tales-movie-easter-eggs-locations-cameos-oakland\">people and locations that carry name recognition for locals\u003c/a>. But nationally, Oakland has never quite received proper credit for its contributions to American culture at large. As rapper \u003ca href=\"https://www.kqed.org/arts/13921058/watch-rising-oakland-rap-star-symbas-tiny-desk-concert\">Symba\u003c/a>, who plays Too Short in the film, remarked on the red carpet, “People get their curations, their whole make-up, from things that we created here.”\u003c/p>\n\u003cp>\u003cem>Freaky Tales\u003c/em>, then, is a movie about a town with a permanent underdog complex — and, fittingly, it’s told through different chapters, interconnected by Pascal’s performance as a hitman, that have underdogs as their heroes. A ragtag bunch of pacifist punk rockers beats up a crew of Nazi skinheads. Two teenage girls in a rap battle rip to shreds a rapper known for objectifying women. A basketball point guard comes alive for a mind-blowing fourth quarter in a historic comeback win.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The freakiest thing of all? These are events that really happened.\u003c/p>\n\u003cfigure id=\"attachment_13973913\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13973913\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/FT_01151RC2.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/FT_01151RC2.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/FT_01151RC2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/FT_01151RC2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/FT_01151RC2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/FT_01151RC2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/FT_01151RC2-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/FT_01151RC2-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jay Ellis as Sleepy Floyd in ‘Freaky Tales,’ surrounded by other actors in a scene outside the Oakland Coliseum. \u003ccite>(Lionsgate Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In many cases, thankfully, the events depicted in \u003cem>Freaky Tales\u003c/em> involved people who are still around to witness what likely seemed impossible 38 years ago: a Hollywood movie with Oakland as its true star. Here are some of their real-life tales.\u003c/p>\n\u003ch2>Punching Nazis: A punk love story\u003c/h2>\n\u003cp>The first chapter of \u003cem>Freaky Tales\u003c/em> follows young couple Tina (Ji-young Yoo) and Lucid (Jack Champion) as they navigate an increasing menace to their home-base punk collective of \u003ca href=\"https://www.kqed.org/arts/tag/924-gilman\">924 Gilman\u003c/a>: neo-Nazi skinheads, who barge into shows, knock people to the ground, assault girls and women and destroy band equipment.\u003c/p>\n\u003cp>After taking a vote led by security guard Greg (LeQuan Antonio Bennett), the punks decide to fight back. During an Operation Ivy show at the Berkeley club, the Nazi skinheads return, but this time they’re met by a wall of punks armed with bats, chains and trash can lids. Battered in the ensuing brawl, the defeated Nazis pile into their smashed and dented pickup truck and drive away to the El Cerrito hills.\u003c/p>\n\u003cfigure id=\"attachment_13973920\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13973920\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/SkinheadLineup.jpg\" alt=\"\" width=\"2000\" height=\"1499\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/SkinheadLineup.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/SkinheadLineup-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/SkinheadLineup-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/SkinheadLineup-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/SkinheadLineup-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/SkinheadLineup-1536x1151.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/SkinheadLineup-1920x1439.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A group of Nazi skinheads approaches punk club 924 Gilman in a scene from ‘Freaky Tales.’ \u003ccite>(Lionsgate Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13973928\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13973928\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/GILMAN-143.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/GILMAN-143.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/GILMAN-143-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/GILMAN-143-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/GILMAN-143-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/GILMAN-143-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/GILMAN-143-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/GILMAN-143-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">In 1987, skinheads caused trouble at punk shows around the country, including at 924 Gilman in Berkeley, pictured. \u003ccite>(Murray Bowles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Minus a few details, the chapter is remarkably true to real-life events. Fleck and Boden had a good roadmap: the fight is recalled at length in \u003ca href=\"https://www.kqed.org/arts/13239750/the-definitive-documentary-on-east-bay-punk-is-coming-pit-warning\">the East Bay punk documentary \u003cem>Turn It Around\u003c/em>\u003c/a>, directed by Gilman alum Corbett Redford, who came on as a technical advisor for the film.\u003c/p>\n\u003cp>“Greg” in the film is based on George Stephens, a.k.a. George Hated, who in 1987 lived in West Oakland, sang in the band The Hated and served as head of security at Gilman. In an interview, Stephens, now 57, recalled walking out to the sidewalk that night and seeing Nondo, his friend who was also working security, lying in the gutter outside the front door.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“And there were three Nazis standing over him, one holding a bat. So I grabbed the bat out of the guy’s hands and hit the three of them, got Nondo up, and got him inside,” Stephens said.\u003c/p>\n\u003cp>On any other night, that might have been the end of it. But just like in the film, the punks at Gilman who’d vowed to fight emptied into the street. Even Dave Dictor, the singer of “peace-punk” band MDC, who were headlining that night, joined in wielding an aluminum crutch.\u003c/p>\n\u003cp>“More people came out, and it turned into an absolute mess,” said Stephens.\u003c/p>\n\u003cfigure id=\"attachment_13973959\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13973959\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/250401-VARIOUS-FREAKY-TALES-MD-07-KQED-2.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/250401-VARIOUS-FREAKY-TALES-MD-07-KQED-2.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/250401-VARIOUS-FREAKY-TALES-MD-07-KQED-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/250401-VARIOUS-FREAKY-TALES-MD-07-KQED-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/250401-VARIOUS-FREAKY-TALES-MD-07-KQED-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/250401-VARIOUS-FREAKY-TALES-MD-07-KQED-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/250401-VARIOUS-FREAKY-TALES-MD-07-KQED-2-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/250401-VARIOUS-FREAKY-TALES-MD-07-KQED-2-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">George Stephens today, pictured in Alameda on April 1, 2025. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kamala Parks, who co-founded Gilman and drummed in several bands, remembered the nuanced deliberations about retaliating against Nazis among volunteers at the club, whose door rules stated “No Fighting.”\u003c/p>\n\u003cp>“A lot of folks who had previously taken a more pacifist standpoint had been convinced to fight back, mainly because skinhead violence had gotten more pronounced,” she said. (Parks herself had been punched in the face by a skinhead during a previous melee across town.)\u003c/p>\n\u003cp>By the end of the brawl outside Gilman, the punks had won. They even chased the Nazis across the street and smashed up their pickup truck before the skinheads sped away, fleeing.\u003c/p>\n\u003cfigure id=\"attachment_13973986\" class=\"wp-caption aligncenter\" style=\"max-width: 1025px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13973986\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Kamla.Flyer_.George.Rules_.jpg\" alt=\"\" width=\"1025\" height=\"1319\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Kamla.Flyer_.George.Rules_.jpg 1025w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Kamla.Flyer_.George.Rules_-800x1029.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Kamla.Flyer_.George.Rules_-1020x1313.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Kamla.Flyer_.George.Rules_-160x206.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Kamla.Flyer_.George.Rules_-768x988.jpg 768w\" sizes=\"auto, (max-width: 1025px) 100vw, 1025px\">\u003cfigcaption class=\"wp-caption-text\">(Clockwise from upper left) Kamala Parks drums with Cringer at 924 Gilman in 1990; the flyer for the show at Gilman on the night of the Nazi brawl, May 17, 1987; George Hated sings with the Hated at Gilman in 1992; rules posted at Gilman’s front door. \u003ccite>(Murray Bowles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“My heart was pounding right out of my chest,” Dave Dictor, MDC’s singer, recalled in \u003ca href=\"https://www.goodreads.com/book/show/29363293-mdc\">his 2016 autobiography\u003c/a>. “Right after the battle it was time to get on stage and sing, but I was too numb to be able to change gears to talk about it from the stage. As I remember, we just plowed through the set.”\u003c/p>\n\u003cp>Those mixed emotions were real, Parks said. “There was euphoria, but there’s dread, because you don’t know what’s going to happen next. You don’t know if they’re going to come back with a bigger group of people.”\u003c/p>\n\u003cfigure id=\"attachment_13973991\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13973991 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/250401-VARIOUS-FREAKY-TALES-MD-05-KQED-4.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/250401-VARIOUS-FREAKY-TALES-MD-05-KQED-4.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/250401-VARIOUS-FREAKY-TALES-MD-05-KQED-4-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/250401-VARIOUS-FREAKY-TALES-MD-05-KQED-4-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/250401-VARIOUS-FREAKY-TALES-MD-05-KQED-4-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/250401-VARIOUS-FREAKY-TALES-MD-05-KQED-4-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/250401-VARIOUS-FREAKY-TALES-MD-05-KQED-4-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/250401-VARIOUS-FREAKY-TALES-MD-05-KQED-4-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Kamala Parks today, pictured in downtown Oakland on April 1, 2025. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Parks stayed on edge for a few weeks afterward. Amazingly, the Nazis never came back to Gilman.\u003c/p>\n\u003cp>As Stephens points out, though, they never went away for good.\u003c/p>\n\u003cp>“I mean, we live in America,” Stephens said. “It’s not surprising that the Proud Boys are back. That fringe has never really gone away in America.”\u003c/p>\n\u003cfigure id=\"attachment_13973946\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13973946\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/250401-VARIOUS-FREAKY-TALES-MD-08-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/250401-VARIOUS-FREAKY-TALES-MD-08-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/250401-VARIOUS-FREAKY-TALES-MD-08-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/250401-VARIOUS-FREAKY-TALES-MD-08-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/250401-VARIOUS-FREAKY-TALES-MD-08-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/250401-VARIOUS-FREAKY-TALES-MD-08-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/250401-VARIOUS-FREAKY-TALES-MD-08-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/250401-VARIOUS-FREAKY-TALES-MD-08-KQED-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">924 Gilman St. in Berkeley on April 1, 2025. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>You want a bit of danger, step into my zone\u003c/h2>\n\u003cp>“Ryan will tell you, he’s been pitching me a version of \u003cem>Freaky Tales\u003c/em> for literally 15 years,” said Anna Boden, the film’s co-writer and co-director, in an interview. Her filmmaking partner, Ryan Fleck, grew up in Oakland; Boden in Massachusetts.\u003c/p>\n\u003cp>“And he grew up listening to Too Short’s music and I did not. And so I was listening to Too Short’s music for the first time as a grown woman. And it was, like, a \u003cem>very\u003c/em> different experience for me than it was for Ryan,” she said of Short’s explicit and often misogynist subject material.\u003c/p>\n\u003cfigure id=\"attachment_13973969\" class=\"wp-caption aligncenter\" style=\"max-width: 1208px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13973969\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Short.FreddyB.jpg\" alt=\"\" width=\"1208\" height=\"598\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Short.FreddyB.jpg 1208w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Short.FreddyB-800x396.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Short.FreddyB-1020x505.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Short.FreddyB-160x79.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Short.FreddyB-768x380.jpg 768w\" sizes=\"auto, (max-width: 1208px) 100vw, 1208px\">\u003cfigcaption class=\"wp-caption-text\">Too Short on the cover of his single ‘Freaky Tales,’ circa 1988; at right, Short’s early rap partner Freddy B in 1992. \u003ccite>(Dangerous Music/Serious Sounds)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But one song stuck out for Boden. In “\u003ca href=\"https://www.youtube.com/watch?v=MfSYngzHOsY\">Don’t Fight the Feelin’\u003c/a>” from the 1989 album \u003cem>Life Is… Too Short\u003c/em>, Short trades verses with a female rap duo called Danger Zone, who insult his bankroll, poke fun at his bad breath and make repeated references to his size below the belt: “Do they call you Short because of your height or your width? / Diss me boy, I’ll hang your balls from a cliff.”\u003c/p>\n\u003cp>Boden knew she had found her entry to the story. “Hearing him allow himself to be taken down by these young women was kind of mind-blowing to me,” she said.\u003c/p>\n\u003cp>In the film, Barbie and Entice from Danger Zone are approached by Lenny G (the rapper Stunnaman02, in a role based on Short’s early rap partner \u003ca href=\"http://www.kqed.org/bayareahiphop/timeline#too-short-and-freddy-b-start-making-handmade-tapes\">Freddy B\u003c/a>) to battle Short onstage at the Town’s hottest nightclub, Sweet Jimmie’s. Dubious of the proposition, but tired of being mistreated at their day job scooping ice cream, they accept.\u003c/p>\n\u003cfigure id=\"attachment_13973921\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13973921\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/FT_00825RC2.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/FT_00825RC2.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/FT_00825RC2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/FT_00825RC2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/FT_00825RC2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/FT_00825RC2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/FT_00825RC2-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/FT_00825RC2-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Dominique Thorne and Normani as Danger Zone’s Barbie and Entice in a scene from ‘Freaky Tales.’ \u003ccite>(Lionsgate Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The song unfolds in a thrilling scene, verse for verse, with actor and rapper Symba portraying Short’s hunched gait and coy taunting. (Symba asked Short for pointers, “and he sent me four videos, and was like, ‘Just embody this, and you’ll be alright,’” he said.) Danger Zone, meanwhile, keep coming back with heat, and win over the crowd. By the end, Short daps up the girls, conceding a draw, if not defeat.\u003c/p>\n\u003cp>In reality, “Don’t Fight the Feelin’” came together in the studio, not on stage.\u003c/p>\n\u003cp>Today, Tamra Goins is a talent agent in L.A. But in 1987, she was Entice — the 15-year-old East Oakland girl who linked up with her cousin, Bailey Brown, to form Danger Zone. They’d met Short through \u003ca href=\"https://www.kqed.org/arts/13934715/kimmie-fresh-real-freaky-tales-oakland\">the female rap pioneer Kimmie Fresh\u003c/a> years before recording “Don’t Fight the Feelin’,” she said in an interview. Danger Zone had even been signed to Short’s Dangerous Music label, which released their song “\u003ca href=\"https://www.youtube.com/watch?v=SvMjOBASvbc\">Jailbait\u003c/a>,” a blunt warning to underage girls about predatory men.\u003c/p>\n\u003cfigure id=\"attachment_13973922\" class=\"wp-caption aligncenter\" style=\"max-width: 944px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13973922\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/DangerZone.jpg\" alt=\"\" width=\"944\" height=\"808\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/DangerZone.jpg 944w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/DangerZone-800x685.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/DangerZone-160x137.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/DangerZone-768x657.jpg 768w\" sizes=\"auto, (max-width: 944px) 100vw, 944px\">\u003cfigcaption class=\"wp-caption-text\">Fifteen-year-old cousins Bailey Brown and Tamra Goins, a.k.a. Barbie and Entice of Danger Zone, pictured in 1988. \u003ccite>(Dangerous Music)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When Short’s manager, Randy Austin, pitched the concept for “Don’t Fight the Feelin’” to be included on Short’s next full-length album, Goins was hesitant, just like her character in the movie.\u003c/p>\n\u003cp>“We’re terrified, right? Because one, we’re kids. Two, Short was known to call people head doctors. I think I was still a virgin! So we just were terrified of what he could possibly say,” Goins said.\u003c/p>\n\u003cp>Laying down the track at engineer Al Eaton’s One Little Indian studio in Richmond — essentially Eaton’s living room — Goins and Brown came for Short so viciously that the men present, like rappers Spice 1 and Rappin’ 4-Tay, kept laughing and ruining the take. “They’re running out of the house, cracking up, laughing,” said Goins. “We can’t even get through it!”\u003c/p>\n\u003cfigure id=\"attachment_13973836\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13973836\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-33-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-33-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-33-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-33-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-33-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-33-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-33-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-33-KQED-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Co-director Ryan Fleck high-fives Tamra Goins, a.k.a. Entice from Danger Zone, ahead of the ‘Freaky Tales’ premiere at the Grand Lake Theater in Oakland on March 19, 2025. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Short was similarly unprepared for Danger Zone’s verses.\u003c/p>\n\u003cp>“We made the song, I did my two verses. And it was supposed to be about an old dude pullin’ up in his car flirting with these young girls,” Short explained on Nick Cannon’s \u003cem>We Playin’ Spades\u003c/em> podcast. “My verse was kinda nice. And they came back rippin’ me to shreds!”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Short was rattled, but “I went home and listened to it, and I was like, ‘Damn, this is kind of cool … let me go back and talk a lotta shit about \u003cem>them\u003c/em>, and it’ll be a crazy song!’’\u003c/p>\n\u003cp>After redoing his verses to match Danger Zone’s venom and adding Rappin’ 4-Tay to the track, the song grew to a ridiculous length of over 8 minutes. \u003ca href=\"http://www.kqed.org/bayareahiphop/timeline#kimmie-fresh-answers-too-shorts-freaky-tales-with-the-girls-story\">Kimmie Fresh had released her own eight-minute diss track to Short\u003c/a>, but this was men and women on the same song, a battle of the sexes on wax. Short knew it was gold.\u003c/p>\n\u003cfigure id=\"attachment_13973963\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13973963\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/GettyImages-1943659116.jpg\" alt=\"\" width=\"2000\" height=\"1213\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/GettyImages-1943659116.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/GettyImages-1943659116-800x485.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/GettyImages-1943659116-1020x619.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/GettyImages-1943659116-160x97.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/GettyImages-1943659116-768x466.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/GettyImages-1943659116-1536x932.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/GettyImages-1943659116-1920x1164.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Danger Zone’s Tamra Goins (Entice) at far left, and Bailey Brown (Barbie) third from left, in a group photo of the cast and crew of ‘Freaky Tales’ at the Sundance Film Festival in January 2024. \u003ccite>(Dia Dipasupil/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite the song’s legendary status, Danger Zone never performed “Don’t Fight the Feelin’” live onstage with Short, as depicted in \u003cem>Freaky Tales\u003c/em>. (Goins and Short have done the song without Brown a handful of times at cruises and sorority events.) Brown, who later traveled the world as a dancer for MC Hammer, \u003ca href=\"https://www.tiktok.com/@getaroundwithbaileybrown\">currently lives in Ghana\u003c/a> most of the year, scriptwriting and producing.\u003c/p>\n\u003cp>Now 53, Goins is proud of the song’s longevity among fans like Shaquille O’Neal, who lovingly \u003ca href=\"https://youtu.be/APrhXcftYPs?feature=shared&t=204\">goaded her into performing it on \u003cem>Sway’s Universe\u003c/em> in 2011\u003c/a>. But it comes with a dash of concern for her former 15-year-old self, rapping so brazenly amid the older pimps and players that inspired “Jailbait.”\u003c/p>\n\u003cp>“Sometimes I’ll look back at the lyrics and I go, ‘Oh!’” she said. “I’m a mom now. I’ll be like, ‘And why was your name \u003cem>Entice\u003c/em>?’”\u003c/p>\n\u003cfigure id=\"attachment_13973926\" class=\"wp-caption aligncenter\" style=\"max-width: 1427px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13973926\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/SleepyFloyd.May101987.jpg\" alt=\"\" width=\"1427\" height=\"1884\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/SleepyFloyd.May101987.jpg 1427w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/SleepyFloyd.May101987-800x1056.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/SleepyFloyd.May101987-1020x1347.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/SleepyFloyd.May101987-160x211.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/SleepyFloyd.May101987-768x1014.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/SleepyFloyd.May101987-1163x1536.jpg 1163w\" sizes=\"auto, (max-width: 1427px) 100vw, 1427px\">\u003cfigcaption class=\"wp-caption-text\">The Golden State Warriors’ Eric ‘Sleepy’ Floyd drives to the basket past Los Angeles Lakers’ James Worthy during their playoff game at the Oakland Arena on May 10, 1987. Floyd scored an NBA playoff record-setting 29 points in the fourth quarter, 12 field goals in the same quarter and 39 points in a half, to lead the Warriors to a 129-121 victory over the Lakers. \u003ccite>(Gary Reyes/Oakland Tribune via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A warrior in more ways than one\u003c/h2>\n\u003cp>\u003cem>Freaky Tales\u003c/em>’ final chapter revolves around a story so well-known that it’s in the record books. In Game 4 of the 1987 NBA playoffs, the \u003ca href=\"https://www.kqed.org/arts/tag/warriors\">Warriors\u003c/a> were down 3-0 against the Lakers and trailed 102-88 going into the fourth quarter.\u003c/p>\n\u003cp>Out of nowhere, Eric “Sleepy” Floyd roared into action, scoring 29 points in the fourth quarter to propel the Warriors to victory. Game announcer Greg Papa, baffled and slightly hoarse, was moved to exclaim, “\u003ca href=\"https://youtu.be/u1sVoWIhUKg?feature=shared&t=135\">Sleepy Floyd is Superman!\u003c/a>”\u003c/p>\n\u003cp>It still stands today as the NBA postseason record for the most points scored by a player in a single quarter.\u003c/p>\n\u003cfigure id=\"attachment_13973835\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13973835\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-7-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-7-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-7-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-7-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-7-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-7-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-7-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-7-KQED-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Eric ‘Sleepy’ Floyd enters the ‘Freaky Tales’ premiere at the Grand Lake Theater in Oakland on March 19, 2025. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Outside the Grand Lake last month, Sleepy Floyd seemed surprised and humbled that his achievement is now part of a Hollywood film. Calling \u003cem>Freaky Tales\u003c/em> “a love song to Oakland,” the point guard, now 65 and living in his home state of North Carolina, remarked that “just to have it centered around that game, truly I’m just blessed and honored to be a part of it.”\u003c/p>\n\u003cp>Floyd, who in the same matchup against the Lakers also set the record for the most points scored in a half of a playoff game with 39, is portrayed in \u003cem>Freaky Tales\u003c/em> by Jay Ellis (\u003cem>Insecure, Top Gun: Maverick\u003c/em>). Without giving away too much, Sleepy Floyd becomes the star of the film’s climax, diverging drastically from real-life events, complete with supernatural samurai skills.\u003c/p>\n\u003cp>“They made me look a lot cooler than I actually am,” Floyd said with a chuckle.\u003c/p>\n\u003cfigure id=\"attachment_13973842\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13973842\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-110-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-110-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-110-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-110-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-110-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-110-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-110-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-110-KQED-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The ‘Freaky Tales’ cast, with Pedro Pascal and Jay Ellis at center, pose on the red carpet ahead of the Oakland premiere at the Grand Lake Theater on March 19, 2025. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Gilman punks’ beatdown, Danger Zone’s dominance, Sleepy Floyd’s fireworks — \u003cem>Freaky Tales\u003c/em> makes clear to a nationwide moviegoing audience what Oakland has always known about itself: this is a place of amazing people, events and stories.\u003c/p>\n\u003cp>Asked about Oakland on the red carpet at the Grand Lake premiere, Pedro Pascal put it simply: “It’s the raddest city in the world.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Freaky Tales’ opens in wide release on Friday, April 4. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "With Casual’s ‘Starduster,’ a Rap Legend Reaches New Heights",
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"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",
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"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>",
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"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>",
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"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>",
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"title": "The ‘Rolling Warrior’ Who Demanded Equality for People With Disabilities",
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"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",
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"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>",
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"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>",
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"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>",
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"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>",
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"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>",
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"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>",
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"slug": "violeta-marasigan-bullet-filipina-activist-ihotel-manilatown-san-francisco-marcos",
"title": "The Filipina Activist So Unstoppable, Her Nickname Was ‘Bullet’",
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"headTitle": "The Filipina Activist So Unstoppable, Her Nickname Was ‘Bullet’ | KQED",
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"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",
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"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>",
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"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>",
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"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>",
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"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>",
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"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>",
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"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>",
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"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>",
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"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",
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"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>",
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"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>",
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"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>",
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{
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{
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"candidateParty": "",
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{
"candidateName": "Simon “Peter” Gutierrez Bufete",
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"candidateParty": "",
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{
"candidateName": "Calyn Kelley",
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"candidateParty": "",
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{
"candidateName": "Tom Wong",
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]
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"dateUpdated": "Dec 3, 2024",
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{
"candidateName": "Amanda Pepper",
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{
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{
"candidateName": "Deena Kaplanis",
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"timeUpdated": "9:01 PM",
"dateUpdated": "Dec 3, 2024",
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{
"candidateName": "Patricio R. Urbi",
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{
"candidateName": "Jatinder (JP) K. Sahi",
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]
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"timeUpdated": "9:01 PM",
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{
"candidateName": "Michelle Parnala",
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]
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"raceType": "top1",
"timeUpdated": "9:01 PM",
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{
"candidateName": "Lydia Idem",
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{
"candidateName": "Michael Gonzales",
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"candidateParty": "",
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]
},
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"id": "AlamedaNewarkUnifiedSchoolDistrictGoverningBoard",
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"location": "Alameda",
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"raceReadTheStory": "",
"raceType": "top3",
"timeUpdated": "9:01 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 32762,
"candidates": [
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"candidateParty": "",
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{
"candidateName": "Vikas Minglani",
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"candidateParty": "",
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{
"candidateName": "Gabriel Anguiano Jr.",
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{
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{
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{
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{
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{
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{
"candidateName": "Moira “Mimi” Dean",
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{
"candidateName": "Bob Glaze",
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{
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{
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"timeUpdated": "9:01 PM",
"dateUpdated": "Dec 3, 2024",
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"timeUpdated": "9:01 PM",
"dateUpdated": "Dec 3, 2024",
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"timeUpdated": "9:01 PM",
"dateUpdated": "Dec 3, 2024",
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"timeUpdated": "9:01 PM",
"dateUpdated": "Dec 3, 2024",
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"timeUpdated": "9:01 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 7011,
"candidates": [
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{
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"timeUpdated": "9:01 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 23822,
"candidates": [
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{
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"raceType": "yesNo",
"timeUpdated": "9:01 PM",
"dateUpdated": "Dec 3, 2024",
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{
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"raceName": "Measure R",
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"raceType": "yesNo",
"timeUpdated": "9:01 PM",
"dateUpdated": "Dec 3, 2024",
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{
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"AlamedaMeasureS": {
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"location": "Alameda",
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"raceType": "yesNo",
"timeUpdated": "9:01 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 8274,
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{
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"raceType": "yesNo",
"timeUpdated": "9:01 PM",
"dateUpdated": "Dec 3, 2024",
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"raceReadTheStory": "",
"raceType": "yesNo",
"timeUpdated": "9:01 PM",
"dateUpdated": "Dec 3, 2024",
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{
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"AlamedaMeasureV": {
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"location": "Alameda",
"raceName": "Measure V",
"raceDescription": "Albany. Youth voting. Passes with majority vote.",
"raceReadTheStory": "",
"raceType": "yesNo",
"timeUpdated": "9:01 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 8767,
"candidates": [
{
"candidateName": "Yes",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 5619
},
{
"candidateName": "No",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 3148
}
]
},
"AlamedaMeasureW": {
"id": "AlamedaMeasureW",
"type": "localRace",
"location": "Alameda",
"raceName": "Measure W",
"raceDescription": "Berkeley. Property transfer tax. Passes with majority vote.",
"raceReadTheStory": "",
"raceType": "yesNo",
"timeUpdated": "9:01 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 51630,
"candidates": [
{
"candidateName": "Yes",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 31461
},
{
"candidateName": "No",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 20169
}
]
},
"AlamedaMeasureX": {
"id": "AlamedaMeasureX",
"type": "localRace",
"location": "Alameda",
"raceName": "Measure X",
"raceDescription": "Berkeley. Parcel tax. Passes with 2/3 vote.",
"raceReadTheStory": "",
"raceType": "yesNo",
"timeUpdated": "9:01 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 53242,
"candidates": [
{
"candidateName": "Yes",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 41819
},
{
"candidateName": "No",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 11423
}
]
},
"AlamedaMeasureY": {
"id": "AlamedaMeasureY",
"type": "localRace",
"location": "Alameda",
"raceName": "Measure Y",
"raceDescription": "Berkeley. Parcel tax. 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. Hirsch",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 609
},
{
"candidateName": "Meron Semedar",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 801
}
]
},
"AlamedaOaklandCityCouncilDistrict3FinalRound": {
"id": "AlamedaOaklandCityCouncilDistrict3FinalRound",
"type": "localRace",
"location": "Alameda",
"raceName": "Oakland City Council, District 3 Final Round",
"raceDescription": "Top candidate wins seat. This result reflects redistributed votes. The results of the instant runoff will change as more first-choice votes are counted.",
"raceReadTheStory": "",
"raceType": "top1",
"timeUpdated": "9:01 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 19506,
"candidates": [
{
"candidateName": "Baba Afolabi (eliminated)",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 0
},
{
"candidateName": "Carroll Fife",
"candidateIncumbent": true,
"candidateParty": "",
"voteCount": 11437
},
{
"candidateName": "Michelle D. Hailey (eliminated)",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 0
},
{
"candidateName": "Warren Mitchell Logan",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 8069
},
{
"candidateName": "Shan M. Hirsch (eliminated)",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 0
},
{
"candidateName": "Meron Semedar (eliminated)",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 0
}
]
},
"AlamedaOaklandCityCouncilDistrict5": {
"id": "AlamedaOaklandCityCouncilDistrict5",
"type": "localRace",
"location": "Alameda",
"raceName": "Oakland City Council, District 5",
"raceDescription": "Top candidate wins seat. This result only reflects voters’ first-choice candidate. If votes are redistributed in an instant runoff, they are not reflected in this result.",
"raceReadTheStory": "",
"raceType": "top1",
"timeUpdated": "9:01 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 12299,
"candidates": [
{
"candidateName": "Noel Gallo",
"candidateIncumbent": true,
"candidateParty": "",
"voteCount": 6482
},
{
"candidateName": "Dominic Prado",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 1930
},
{
"candidateName": "Erin Armstrong",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 3887
}
]
},
"AlamedaOaklandCityCouncilDistrict5FinalRound": {
"id": "AlamedaOaklandCityCouncilDistrict5FinalRound",
"type": "localRace",
"location": "Alameda",
"raceName": "Oakland City Council, District 5 Final Round",
"raceDescription": "Top candidate wins seat. This result reflects redistributed votes. The results of the instant runoff will change as more first-choice votes are counted.",
"raceReadTheStory": "",
"raceType": "top1",
"timeUpdated": "9:01 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 12059,
"candidates": [
{
"candidateName": "Noel Gallo",
"candidateIncumbent": true,
"candidateParty": "",
"voteCount": 7120
},
{
"candidateName": "Dominic Prado (eliminated)",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 0
},
{
"candidateName": "Erin Armstrong",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 4939
}
]
},
"AlamedaOaklandCityCouncilDistrict7": {
"id": "AlamedaOaklandCityCouncilDistrict7",
"type": "localRace",
"location": "Alameda",
"raceName": "Oakland City Council, District 7",
"raceDescription": "Top candidate wins seat. This result only reflects voters’ first-choice candidate. If votes are redistributed in an instant runoff, they are not reflected in this result.",
"raceReadTheStory": "",
"raceType": "top1",
"timeUpdated": "9:01 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 13089,
"candidates": [
{
"candidateName": "Merika Goolsby",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 2063
},
{
"candidateName": "Ken Houston",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 4428
},
{
"candidateName": "Iris Merriouns",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 4132
},
{
"candidateName": "Marcie Hodge",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 2466
}
]
},
"AlamedaOaklandCityCouncilDistrict7FinalRound": {
"id": "AlamedaOaklandCityCouncilDistrict7FinalRound",
"type": "localRace",
"location": "Alameda",
"raceName": "Oakland City Council, District 7 Final Round",
"raceDescription": "Top candidate wins seat. This result reflects redistributed votes. The results of the instant runoff will change as more first-choice votes are counted.",
"raceReadTheStory": "",
"raceType": "top1",
"timeUpdated": "9:01 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 12106,
"candidates": [
{
"candidateName": "Merika Goolsby (eliminated)",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 0
},
{
"candidateName": "Ken Houston",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 6303
},
{
"candidateName": "Iris Merriouns",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 5803
},
{
"candidateName": "Marcie Hodge (eliminated)",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 0
}
]
},
"AlamedaOaklandCityAttorney": {
"id": "AlamedaOaklandCityAttorney",
"type": "localRace",
"location": "Alameda",
"raceName": "Oakland City Attorney",
"raceDescription": "Top candidate wins seat.",
"raceReadTheStory": "",
"raceType": "top1",
"timeUpdated": "9:01 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 137594,
"candidates": [
{
"candidateName": "Brenda Harbin-Forte",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 56752
},
{
"candidateName": "Ryan Richardson",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 80842
}
]
},
"AlamedaOaklandSchoolDirectorDistrict1": {
"id": "AlamedaOaklandSchoolDirectorDistrict1",
"type": "localRace",
"location": "Alameda",
"raceName": "Oakland School Director, District 1 ",
"raceDescription": "Top candidate wins seat.",
"raceReadTheStory": "",
"raceType": "top1",
"timeUpdated": "9:01 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 28794,
"candidates": [
{
"candidateName": "Rachel Latta",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 22409
},
{
"candidateName": "Benjamin Salop",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 6385
}
]
},
"AlamedaOaklandSchoolDirectorDistrict3": {
"id": "AlamedaOaklandSchoolDirectorDistrict3",
"type": "localRace",
"location": "Alameda",
"raceName": "Oakland School Director, District 3 ",
"raceDescription": "Top candidate wins seat.",
"raceReadTheStory": "",
"raceType": "top1",
"timeUpdated": "9:01 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 19777,
"candidates": [
{
"candidateName": "Dwayne Aikens Jr.",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 8847
},
{
"candidateName": "VanCedric Williams",
"candidateIncumbent": true,
"candidateParty": "",
"voteCount": 10930
}
]
},
"AlamedaOaklandSchoolDirectorDistrict5": {
"id": "AlamedaOaklandSchoolDirectorDistrict5",
"type": "localRace",
"location": "Alameda",
"raceName": "Oakland School Director, District 5 ",
"raceDescription": "Top candidate wins seat.",
"raceReadTheStory": "",
"raceType": "top1",
"timeUpdated": "9:01 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 12041,
"candidates": [
{
"candidateName": "Sasha Ritzie-Hernandez",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 5578
},
{
"candidateName": "Patrice Berry",
"candidateIncumbent": false,
"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",
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{
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{
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"dateUpdated": "Dec 3, 2024",
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{
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"timeUpdated": "7:57 PM",
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"timeUpdated": "7:57 PM",
"dateUpdated": "Dec 3, 2024",
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"timeUpdated": "7:57 PM",
"dateUpdated": "Dec 3, 2024",
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{
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{
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"dateUpdated": "Dec 3, 2024",
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{
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"timeUpdated": "7:57 PM",
"dateUpdated": "Dec 3, 2024",
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{
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"timeUpdated": "7:57 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 4733,
"candidates": [
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{
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"raceReadTheStory": "",
"raceType": "yesNo",
"timeUpdated": "7:57 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 4781,
"candidates": [
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{
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"raceType": "yesNo",
"timeUpdated": "7:57 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 7144,
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{
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"raceType": "yesNo",
"timeUpdated": "7:57 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 8565,
"candidates": [
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"candidateParty": "",
"voteCount": 6623
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{
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"candidateIncumbent": false,
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"voteCount": 1942
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]
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"type": "localRace",
"location": "Marin",
"raceName": "Measure M",
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"raceReadTheStory": "",
"raceType": "yesNo",
"timeUpdated": "7:57 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 26157,
"candidates": [
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{
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"candidateIncumbent": false,
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"location": "Marin",
"raceName": "Measure N",
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"raceReadTheStory": "",
"raceType": "yesNo",
"timeUpdated": "7:57 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 7470,
"candidates": [
{
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"voteCount": 2756
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{
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"candidateIncumbent": false,
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]
},
"MarinMeasureO": {
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"location": "Marin",
"raceName": "Measure O",
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"raceReadTheStory": "",
"raceType": "yesNo",
"timeUpdated": "7:57 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 7560,
"candidates": [
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"voteCount": 2556
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{
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"candidateIncumbent": false,
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]
},
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"id": "MarinMeasureP",
"type": "localRace",
"location": "Marin",
"raceName": "Measure P",
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"raceReadTheStory": "",
"raceType": "yesNo",
"timeUpdated": "7:57 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 23788,
"candidates": [
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"voteCount": 12375
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{
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"candidateIncumbent": false,
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},
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"type": "localRace",
"location": "Marin",
"raceName": "Measure Q",
"raceDescription": "Stinson Beach Fire Protection District. Spending limit. Passes with majority vote.",
"raceReadTheStory": "",
"raceType": "yesNo",
"timeUpdated": "7:57 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 332,
"candidates": [
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"voteCount": 309
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{
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"candidateIncumbent": false,
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]
},
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"type": "localRace",
"location": "Marin",
"raceName": "Measure R",
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"raceReadTheStory": "",
"raceType": "yesNo",
"timeUpdated": "7:57 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 335,
"candidates": [
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"voteCount": 274
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{
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"NapaNapaCountyBoardofEducationTrusteeArea5": {
"id": "NapaNapaCountyBoardofEducationTrusteeArea5",
"type": "localRace",
"location": "Napa",
"raceName": "Napa County Board of Education, Trustee Area 5",
"raceDescription": "Top candidate wins seat. ",
"raceReadTheStory": "",
"raceType": "top1",
"timeUpdated": "7:25 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 7504,
"candidates": [
{
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"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 2163
},
{
"candidateName": "Gerald Parrott \r",
"candidateIncumbent": true,
"candidateParty": "",
"voteCount": 5341
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]
},
"NapaSolanoCountyBoardofEducationTrusteeArea2": {
"id": "NapaSolanoCountyBoardofEducationTrusteeArea2",
"type": "localRace",
"location": "Napa",
"raceName": "Solano County Board of Education, Trustee Area 2",
"raceDescription": "Top candidate wins seat. Includes votes from Napa and Solano counties.",
"raceReadTheStory": "",
"raceType": "top1",
"timeUpdated": "7:25 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 28859,
"candidates": [
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"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 10075
},
{
"candidateName": "Carol J. Kalamaras",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 5417
},
{
"candidateName": "Amy Sharp",
"candidateIncumbent": true,
"candidateParty": "",
"voteCount": 13367
}
]
},
"NapaNapaValleyCollegeTrusteeArea6": {
"id": "NapaNapaValleyCollegeTrusteeArea6",
"type": "localRace",
"location": "Napa",
"raceName": "Napa Valley College, Trustee Area 6",
"raceDescription": "Top candidate wins seat. ",
"raceReadTheStory": "",
"raceType": "top1",
"timeUpdated": "7:25 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 8021,
"candidates": [
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"candidateIncumbent": true,
"candidateParty": "",
"voteCount": 4839
},
{
"candidateName": "Scott Owens",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 3182
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},
"NapaNapaValleyUnifiedSchoolDistrictTrusteeArea2": {
"id": "NapaNapaValleyUnifiedSchoolDistrictTrusteeArea2",
"type": "localRace",
"location": "Napa",
"raceName": "Napa Valley Unified School District, Trustee Area 2",
"raceDescription": "Top candidate wins seat. ",
"raceReadTheStory": "",
"raceType": "top1",
"timeUpdated": "7:25 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 6552,
"candidates": [
{
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"candidateIncumbent": true,
"candidateParty": "",
"voteCount": 4603
},
{
"candidateName": "Kevin “KDub” West",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 1949
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]
},
"NapaNapaValleyUnifiedSchoolDistrictTrusteeArea4": {
"id": "NapaNapaValleyUnifiedSchoolDistrictTrusteeArea4",
"type": "localRace",
"location": "Napa",
"raceName": "Napa Valley Unified School District, Trustee Area 4",
"raceDescription": "Top candidate wins seat. ",
"raceReadTheStory": "",
"raceType": "top1",
"timeUpdated": "7:25 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 5964,
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{
"candidateName": "Eve Ryser",
"candidateIncumbent": true,
"candidateParty": "",
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},
"NapaNapaValleyUnifiedSchoolDistrictTrusteeArea5": {
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"location": "Napa",
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{
"candidateName": "David T. Gracia",
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"timeUpdated": "7:25 PM",
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{
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"NapaFairfieldSuisunUnifiedSchoolDistrictTrusteeArea3": {
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"timeUpdated": "7:25 PM",
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{
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"timeUpdated": "7:25 PM",
"dateUpdated": "Dec 3, 2024",
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{
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{
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"location": "Napa",
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{
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{
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{
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{
"candidateName": "Hector R. Marroquin",
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{
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{
"candidateName": "Robert Moore",
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{
"candidateName": "Pam Reeves",
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{
"candidateName": "Eric E. Knight",
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"dateUpdated": "Dec 3, 2024",
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{
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"timeUpdated": "7:25 PM",
"dateUpdated": "Dec 3, 2024",
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"timeUpdated": "7:25 PM",
"dateUpdated": "Dec 3, 2024",
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{
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{
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"timeUpdated": "7:25 PM",
"dateUpdated": "Dec 3, 2024",
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"timeUpdated": "7:25 PM",
"dateUpdated": "Dec 3, 2024",
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"timeUpdated": "7:55 PM",
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{
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{
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{
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{
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{
"candidateName": "Parag Gupta",
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{
"candidateName": "Matt Alexander",
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{
"candidateName": "Supryia Marie Ray",
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{
"candidateName": "Virginia Cheung",
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{
"candidateName": "Min Chang",
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{
"candidateName": "Maddy Krantz",
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"timeUpdated": "7:55 PM",
"dateUpdated": "Dec 3, 2024",
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{
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{
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{
"candidateName": "Aliya Chisti",
"candidateIncumbent": true,
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{
"candidateName": "Ben Kaplan",
"candidateIncumbent": false,
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{
"candidateName": "Alan Wong",
"candidateIncumbent": true,
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{
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"timeUpdated": "7:55 PM",
"dateUpdated": "Dec 3, 2024",
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{
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"timeUpdated": "7:55 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 137871,
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{
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"timeUpdated": "7:55 PM",
"dateUpdated": "Dec 3, 2024",
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{
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"timeUpdated": "7:55 PM",
"dateUpdated": "Dec 3, 2024",
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{
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"location": "San Francisco",
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"timeUpdated": "7:55 PM",
"dateUpdated": "Dec 3, 2024",
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{
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"timeUpdated": "7:55 PM",
"dateUpdated": "Dec 3, 2024",
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"location": "San Francisco",
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"raceType": "yesNo",
"timeUpdated": "7:55 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 363854,
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{
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"type": "localRace",
"location": "San Francisco",
"raceName": "Measure F",
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"raceType": "yesNo",
"timeUpdated": "7:55 PM",
"dateUpdated": "Dec 3, 2024",
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{
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"location": "San Francisco",
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"raceReadTheStory": "",
"raceType": "yesNo",
"timeUpdated": "7:55 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 370824,
"candidates": [
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{
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"SFMeasureH": {
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"location": "San Francisco",
"raceName": "Measure H",
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"raceReadTheStory": "",
"raceType": "yesNo",
"timeUpdated": "7:55 PM",
"dateUpdated": "Dec 3, 2024",
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"candidates": [
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{
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"location": "San Francisco",
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"raceReadTheStory": "",
"raceType": "yesNo",
"timeUpdated": "7:55 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 363459,
"candidates": [
{
"candidateName": "Yes",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 261318
},
{
"candidateName": "No",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 102141
}
]
},
"SFMeasureJ": {
"id": "SFMeasureJ",
"type": "localRace",
"location": "San Francisco",
"raceName": "Measure J",
"raceDescription": "San Francisco. City spending. Passes with majority vote.",
"raceReadTheStory": "",
"raceType": "yesNo",
"timeUpdated": "7:55 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 362785,
"candidates": [
{
"candidateName": "Yes",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 297972
},
{
"candidateName": "No",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 64813
}
]
},
"SFMeasureK": {
"id": "SFMeasureK",
"type": "localRace",
"location": "San Francisco",
"raceName": "Measure K",
"raceDescription": "San Francisco. Permanently closing Upper Great Highway to private vehicles. Passes with majority vote.",
"raceReadTheStory": "",
"raceType": "yesNo",
"timeUpdated": "7:55 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 376489,
"candidates": [
{
"candidateName": "Yes",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 206042
},
{
"candidateName": "No",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 170447
}
]
},
"SFMeasureL": {
"id": "SFMeasureL",
"type": "localRace",
"location": "San Francisco",
"raceName": "Measure L",
"raceDescription": "San Francisco. Transportation network companies tax. 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",
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{
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"timeUpdated": "7:16 PM",
"dateUpdated": "Dec 3, 2024",
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"timeUpdated": "7:16 PM",
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"timeUpdated": "7:16 PM",
"dateUpdated": "Dec 3, 2024",
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"timeUpdated": "7:16 PM",
"dateUpdated": "Dec 3, 2024",
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"timeUpdated": "7:16 PM",
"dateUpdated": "Dec 3, 2024",
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"timeUpdated": "7:16 PM",
"dateUpdated": "Dec 3, 2024",
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"timeUpdated": "7:16 PM",
"dateUpdated": "Dec 3, 2024",
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"raceReadTheStory": "",
"raceType": "yesNo",
"timeUpdated": "7:16 PM",
"dateUpdated": "Dec 3, 2024",
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"timeUpdated": "7:16 PM",
"dateUpdated": "Dec 3, 2024",
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"timeUpdated": "7:16 PM",
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"timeUpdated": "7:16 PM",
"dateUpdated": "Dec 3, 2024",
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"timeUpdated": "7:16 PM",
"dateUpdated": "Dec 3, 2024",
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"timeUpdated": "7:16 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 13252,
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"timeUpdated": "7:16 PM",
"dateUpdated": "Dec 3, 2024",
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"timeUpdated": "7:16 PM",
"dateUpdated": "Dec 3, 2024",
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"candidates": [
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"candidateIncumbent": false,
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"timeUpdated": "7:16 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 9905,
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"timeUpdated": "7:16 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 19664,
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"raceReadTheStory": "",
"raceType": "yesNo",
"timeUpdated": "7:16 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 32216,
"candidates": [
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"raceReadTheStory": "",
"raceType": "yesNo",
"timeUpdated": "7:16 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 17380,
"candidates": [
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"candidateIncumbent": false,
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"voteCount": 12703
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"candidateIncumbent": false,
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"raceReadTheStory": "",
"raceType": "yesNo",
"timeUpdated": "7:16 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 14980,
"candidates": [
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"candidateIncumbent": false,
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"raceReadTheStory": "",
"raceType": "yesNo",
"timeUpdated": "7:16 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 42554,
"candidates": [
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"candidateIncumbent": false,
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"raceType": "yesNo",
"timeUpdated": "7:16 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 24535,
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"candidateIncumbent": false,
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"location": "San Mateo",
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"raceType": "yesNo",
"timeUpdated": "7:16 PM",
"dateUpdated": "Dec 3, 2024",
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"raceName": "Measure II",
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"raceReadTheStory": "",
"raceType": "yesNo",
"timeUpdated": "7:16 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 620,
"candidates": [
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"location": "Santa Clara",
"raceName": "Campbell City Council, District 1",
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"raceType": "top1",
"timeUpdated": "7:54 PM",
"dateUpdated": "Dec 5, 2024",
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"candidates": [
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"candidateIncumbent": false,
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"candidateIncumbent": false,
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"raceType": "top1",
"timeUpdated": "7:54 PM",
"dateUpdated": "Dec 5, 2024",
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"candidateIncumbent": true,
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"SCCupertinoCityCouncil": {
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"location": "Santa Clara",
"raceName": "Cupertino City Council",
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"raceReadTheStory": "",
"raceType": "top2",
"timeUpdated": "7:54 PM",
"dateUpdated": "Dec 5, 2024",
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"candidates": [
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"candidateIncumbent": true,
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{
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"candidateIncumbent": false,
"candidateParty": "",
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{
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"candidateIncumbent": false,
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{
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"candidateIncumbent": true,
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{
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"candidateIncumbent": false,
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{
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"candidateIncumbent": false,
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{
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"candidateIncumbent": false,
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"SCGilroyMayor": {
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"location": "Santa Clara",
"raceName": "Gilroy Mayor",
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"raceType": "top1",
"timeUpdated": "7:54 PM",
"dateUpdated": "Dec 5, 2024",
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"candidates": [
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{
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"timeUpdated": "7:54 PM",
"dateUpdated": "Dec 5, 2024",
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{
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"timeUpdated": "7:54 PM",
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"timeUpdated": "7:54 PM",
"dateUpdated": "Dec 5, 2024",
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"timeUpdated": "7:54 PM",
"dateUpdated": "Dec 5, 2024",
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"candidateIncumbent": false,
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"SCElCaminoHealthcareDistrictDirector": {
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"timeUpdated": "7:54 PM",
"dateUpdated": "Dec 5, 2024",
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{
"candidateName": "Julia E. Miller",
"candidateIncumbent": true,
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{
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"candidateIncumbent": false,
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"candidateIncumbent": true,
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"timeUpdated": "7:54 PM",
"dateUpdated": "Dec 5, 2024",
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"candidateIncumbent": false,
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"location": "Santa Clara",
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"timeUpdated": "7:54 PM",
"dateUpdated": "Dec 5, 2024",
"totalVotes": 20932,
"candidates": [
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"candidateIncumbent": false,
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"location": "Santa Clara",
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"timeUpdated": "7:54 PM",
"dateUpdated": "Dec 5, 2024",
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"candidateIncumbent": false,
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"location": "Santa Clara",
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"timeUpdated": "7:54 PM",
"dateUpdated": "Dec 5, 2024",
"totalVotes": 30913,
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"candidateIncumbent": false,
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"timeUpdated": "7:54 PM",
"dateUpdated": "Dec 5, 2024",
"totalVotes": 49763,
"candidates": [
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"candidateIncumbent": false,
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"SCMeasureF": {
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"location": "Santa Clara",
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"timeUpdated": "7:54 PM",
"dateUpdated": "Dec 5, 2024",
"totalVotes": 47536,
"candidates": [
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"candidateIncumbent": false,
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"location": "Santa Clara",
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"timeUpdated": "7:54 PM",
"dateUpdated": "Dec 5, 2024",
"totalVotes": 29492,
"candidates": [
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"location": "Santa Clara",
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"timeUpdated": "7:54 PM",
"dateUpdated": "Dec 5, 2024",
"totalVotes": 40532,
"candidates": [
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{
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"candidateIncumbent": false,
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"SCMeasureJ": {
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"location": "Santa Clara",
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"timeUpdated": "7:54 PM",
"dateUpdated": "Dec 5, 2024",
"totalVotes": 24432,
"candidates": [
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"candidateIncumbent": false,
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"SCMeasureK": {
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"location": "Santa Clara",
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"timeUpdated": "7:54 PM",
"dateUpdated": "Dec 5, 2024",
"totalVotes": 18764,
"candidates": [
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{
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"candidateIncumbent": false,
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"SCMeasureL": {
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"location": "Santa Clara",
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"raceType": "yesNo",
"timeUpdated": "7:54 PM",
"dateUpdated": "Dec 5, 2024",
"totalVotes": 23916,
"candidates": [
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"voteCount": 11897
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"candidateIncumbent": false,
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"SCMeasureM": {
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"type": "localRace",
"location": "Santa Clara",
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"raceReadTheStory": "",
"raceType": "yesNo",
"timeUpdated": "7:54 PM",
"dateUpdated": "Dec 5, 2024",
"totalVotes": 23798,
"candidates": [
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"voteCount": 12076
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"candidateIncumbent": false,
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"SCMeasureN": {
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"type": "localRace",
"location": "Santa Clara",
"raceName": "Measure N",
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"raceReadTheStory": "",
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"timeUpdated": "7:54 PM",
"dateUpdated": "Dec 5, 2024",
"totalVotes": 173551,
"candidates": [
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"candidateIncumbent": false,
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"location": "Santa Clara",
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"raceReadTheStory": "",
"raceType": "yesNo",
"timeUpdated": "7:54 PM",
"dateUpdated": "Dec 5, 2024",
"totalVotes": 90597,
"candidates": [
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"location": "Santa Clara",
"raceName": "Measure Q",
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"raceReadTheStory": "",
"raceType": "yesNo",
"timeUpdated": "7:54 PM",
"dateUpdated": "Dec 5, 2024",
"totalVotes": 24265,
"candidates": [
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"candidateIncumbent": false,
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"SCMeasureR": {
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"type": "localRace",
"location": "Santa Clara",
"raceName": "Measure R",
"raceDescription": "San Jose Unified School District. School bond. Passes with 55% vote.",
"raceReadTheStory": "",
"raceType": "yesNo",
"timeUpdated": "7:54 PM",
"dateUpdated": "Dec 5, 2024",
"totalVotes": 103124,
"candidates": [
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"voteCount": 66759
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"candidateIncumbent": false,
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"type": "localRace",
"location": "Santa Clara",
"raceName": "Measure S",
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"raceReadTheStory": "",
"raceType": "yesNo",
"timeUpdated": "7:54 PM",
"dateUpdated": "Dec 5, 2024",
"totalVotes": 7160,
"candidates": [
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"voteCount": 5018
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"candidateIncumbent": false,
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"type": "localRace",
"location": "Santa Clara",
"raceName": "Measure T",
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"raceReadTheStory": "",
"raceType": "yesNo",
"timeUpdated": "7:54 PM",
"dateUpdated": "Dec 5, 2024",
"totalVotes": 7158,
"candidates": [
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"candidateIncumbent": false,
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"SCMeasureU": {
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"type": "localRace",
"location": "Santa Clara",
"raceName": "Measure U",
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"raceReadTheStory": "",
"raceType": "yesNo",
"timeUpdated": "7:54 PM",
"dateUpdated": "Dec 5, 2024",
"totalVotes": 18065,
"candidates": [
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"candidateIncumbent": false,
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"type": "localRace",
"location": "Santa Clara",
"raceName": "Measure V",
"raceDescription": "Union Elementary School District. Parcel tax. Passes with 2/3 vote.",
"raceReadTheStory": "",
"raceType": "yesNo",
"timeUpdated": "7:54 PM",
"dateUpdated": "Dec 5, 2024",
"totalVotes": 20980,
"candidates": [
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"candidateIncumbent": false,
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"voteCount": 14799
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{
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"candidateIncumbent": false,
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"type": "localRace",
"location": "Santa Clara",
"raceName": "Measure W",
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"raceReadTheStory": "",
"raceType": "yesNo",
"timeUpdated": "7:54 PM",
"dateUpdated": "Dec 5, 2024",
"totalVotes": 24905,
"candidates": [
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"candidateIncumbent": false,
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"voteCount": 19283
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"candidateIncumbent": false,
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"type": "localRace",
"location": "Santa Clara",
"raceName": "Measure X",
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"raceReadTheStory": "",
"raceType": "yesNo",
"timeUpdated": "7:54 PM",
"dateUpdated": "Dec 5, 2024",
"totalVotes": 40274,
"candidates": [
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"candidateIncumbent": false,
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"voteCount": 28008
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"candidateIncumbent": false,
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"type": "localRace",
"location": "Santa Clara",
"raceName": "Measure Y",
"raceDescription": "Sunnyvale School District. Parcel tax. Passes with 2/3 vote.",
"raceReadTheStory": "",
"raceType": "yesNo",
"timeUpdated": "7:54 PM",
"dateUpdated": "Dec 5, 2024",
"totalVotes": 28676,
"candidates": [
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"candidateIncumbent": false,
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"voteCount": 23566
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{
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"candidateIncumbent": false,
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"SCMeasureZ": {
"id": "SCMeasureZ",
"type": "localRace",
"location": "Santa Clara",
"raceName": "Measure Z",
"raceDescription": "Cupertino Union School District. School bond. Passes with 55% vote.",
"raceReadTheStory": "",
"raceType": "yesNo",
"timeUpdated": "7:54 PM",
"dateUpdated": "Dec 5, 2024",
"totalVotes": 55064,
"candidates": [
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"voteCount": 33626
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{
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"candidateIncumbent": false,
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"SCMeasureAA": {
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"type": "localRace",
"location": "Santa Clara",
"raceName": "Measure AA",
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"raceReadTheStory": "",
"raceType": "yesNo",
"timeUpdated": "7:54 PM",
"dateUpdated": "Dec 5, 2024",
"totalVotes": 25605,
"candidates": [
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"candidateIncumbent": false,
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{
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"candidateIncumbent": false,
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},
"SCMeasureBB": {
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"type": "localRace",
"location": "Santa Clara",
"raceName": "Measure BB",
"raceDescription": "Cambrian School District. Parcel tax. Passes with majority vote.",
"raceReadTheStory": "",
"raceType": "yesNo",
"timeUpdated": "7:54 PM",
"dateUpdated": "Dec 5, 2024",
"totalVotes": 13215,
"candidates": [
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{
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"candidateIncumbent": false,
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"SCMeasureCC": {
"id": "SCMeasureCC",
"type": "localRace",
"location": "Santa Clara",
"raceName": "Measure CC",
"raceDescription": "Los Gatos Union School District. School bond. Passes with 55% vote.",
"raceReadTheStory": "",
"raceType": "yesNo",
"timeUpdated": "7:54 PM",
"dateUpdated": "Dec 5, 2024",
"totalVotes": 16092,
"candidates": [
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"candidateParty": "",
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{
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"candidateIncumbent": false,
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},
"SCMeasureEE": {
"id": "SCMeasureEE",
"type": "localRace",
"location": "Santa Clara",
"raceName": "Measure EE",
"raceDescription": "Los Altos School District. School bond. Passes with 55% vote.",
"raceReadTheStory": "",
"raceType": "yesNo",
"timeUpdated": "7:54 PM",
"dateUpdated": "Dec 5, 2024",
"totalVotes": 23185,
"candidates": [
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"candidateIncumbent": false,
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},
"SCMeasureGG": {
"id": "SCMeasureGG",
"type": "localRace",
"location": "Santa Clara",
"raceName": "Measure GG",
"raceDescription": "Orchard School District. School bond. Passes with 55% vote.",
"raceReadTheStory": "",
"raceType": "yesNo",
"timeUpdated": "7:54 PM",
"dateUpdated": "Dec 5, 2024",
"totalVotes": 4170,
"candidates": [
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"candidateIncumbent": false,
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{
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]
},
"SCMeasureHH": {
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]
},
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]
},
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{
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{
"candidateName": "Ravi C. Shankar",
"candidateIncumbent": false,
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{
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},
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{
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]
},
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{
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{
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{
"candidateName": "Lance A. Porter",
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{
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]
},
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]
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{
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]
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{
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"timeUpdated": "7:01 PM",
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{
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"timeUpdated": "7:01 PM",
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{
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"timeUpdated": "7:01 PM",
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{
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"timeUpdated": "7:01 PM",
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{
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]
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"timeUpdated": "7:01 PM",
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{
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]
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"location": "Sonoma",
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"raceDescription": "Top candidate wins seat. ",
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"raceType": "top1",
"timeUpdated": "8:01 PM",
"dateUpdated": "Dec 3, 2024",
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},
{
"candidateName": "Mary Watts",
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]
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"id": "SonomaMarinCountyBoardofEducationTrusteeArea7",
"type": "localRace",
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"raceName": "Marin County Board of Education, Trustee Area 7\r\n",
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"raceType": "top1",
"timeUpdated": "8:01 PM",
"dateUpdated": "Dec 3, 2024",
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{
"candidateName": "Jill Manning-Sartori",
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]
},
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"location": "Sonoma",
"raceName": "Sonoma County Junior College District, Trustee Area 3 (Rohnert Park Area)",
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"timeUpdated": "8:01 PM",
"dateUpdated": "Dec 3, 2024",
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{
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{
"candidateName": "Andre L. Bailey",
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"type": "localRace",
"location": "Sonoma",
"raceName": "Healdsburg Unified School District Governing Board",
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"raceType": "top1",
"timeUpdated": "8:01 PM",
"dateUpdated": "Dec 3, 2024",
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"candidates": [
{
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{
"candidateName": "Rose McAllister",
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},
{
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},
{
"candidateName": "Danielle Kucera",
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},
{
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]
},
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"type": "localRace",
"location": "Sonoma",
"raceName": "Shoreline Unified School District, Trustee Area 1",
"raceDescription": "Top candidate wins seat. Includes votes from Sonoma and Marin Counties.",
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"raceType": "top1",
"timeUpdated": "8:01 PM",
"dateUpdated": "Dec 3, 2024",
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{
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},
{
"candidateName": "Thomas Tyson",
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]
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"location": "Sonoma",
"raceName": "Windsor Unified School District Governing Board",
"raceDescription": "Top two candidates win seat.",
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"timeUpdated": "8:01 PM",
"dateUpdated": "Dec 3, 2024",
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"candidates": [
{
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},
{
"candidateName": "George A. Horwedel",
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},
{
"candidateName": "Bill Adams",
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]
},
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"id": "SonomaPetalumaCityElementaryandPetalumaJointUnionHighSchoolDistrictsGoverningBoardTrusteeA",
"type": "localRace",
"location": "Sonoma",
"raceName": "Petaluma City (Elementary) and Petaluma Joint Union High School Districts Governing Board, Trustee Area 4",
"raceDescription": "Top candidate wins seat. ",
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"raceType": "top1",
"timeUpdated": "8:01 PM",
"dateUpdated": "Dec 3, 2024",
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{
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},
{
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]
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"location": "Sonoma",
"raceName": "West Sonoma County Union High School District Governing Board, Trustee Area 2",
"raceDescription": "Top candidate wins seat. ",
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"raceType": "top1",
"timeUpdated": "8:01 PM",
"dateUpdated": "Dec 3, 2024",
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"voteCount": 3030
},
{
"candidateName": "Debbie Ramirez",
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]
},
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"location": "Sonoma",
"raceName": "Oak Grove Union School District Governing Board",
"raceDescription": "Top two candidates win seat.",
"raceReadTheStory": "",
"raceType": "top2",
"timeUpdated": "8:01 PM",
"dateUpdated": "Dec 3, 2024",
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"candidates": [
{
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"candidateIncumbent": true,
"candidateParty": "",
"voteCount": 1205
},
{
"candidateName": "Kali Dukes Wagner",
"candidateIncumbent": false,
"candidateParty": "",
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},
{
"candidateName": "Paloma Escalante De Burrows",
"candidateIncumbent": false,
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}
]
},
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"id": "SonomaSantaRosaCityCouncilDistrict1",
"type": "localRace",
"location": "Sonoma",
"raceName": "Santa Rosa City Council, District 1",
"raceDescription": "Top candidate wins seat. ",
"raceReadTheStory": "",
"raceType": "top1",
"timeUpdated": "8:01 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 4830,
"candidates": [
{
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"candidateIncumbent": true,
"candidateParty": "",
"voteCount": 4830
}
]
},
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"id": "SonomaSantaRosaCityCouncilDistrict3",
"type": "localRace",
"location": "Sonoma",
"raceName": "Santa Rosa City Council, District 3",
"raceDescription": "Top candidate wins seat. ",
"raceReadTheStory": "",
"raceType": "top1",
"timeUpdated": "8:01 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 13272,
"candidates": [
{
"candidateName": "Dianna Macdonald",
"candidateIncumbent": true,
"candidateParty": "",
"voteCount": 10798
},
{
"candidateName": "Janice Karrman",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 2474
}
]
},
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"id": "SonomaSantaRosaCityCouncilDistrict5",
"type": "localRace",
"location": "Sonoma",
"raceName": "Santa Rosa City Council, District 5",
"raceDescription": "Top candidate wins seat. ",
"raceReadTheStory": "",
"raceType": "top1",
"timeUpdated": "8:01 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 7526,
"candidates": [
{
"candidateName": "Caroline Bañuelos",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 4682
},
{
"candidateName": "Jeremy Newton",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 2844
}
]
},
"SonomaSantaRosaCityCouncilDistrict7": {
"id": "SonomaSantaRosaCityCouncilDistrict7",
"type": "localRace",
"location": "Sonoma",
"raceName": "Santa Rosa City Council, District 7",
"raceDescription": "Top candidate wins seat. ",
"raceReadTheStory": "",
"raceType": "top1",
"timeUpdated": "8:01 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 7705,
"candidates": [
{
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"candidateIncumbent": true,
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"voteCount": 7705
}
]
},
"SonomaCloverdaleCityCouncil": {
"id": "SonomaCloverdaleCityCouncil",
"type": "localRace",
"location": "Sonoma",
"raceName": "Cloverdale City Council",
"raceDescription": "Top two candidates win seat.",
"raceReadTheStory": "",
"raceType": "top2",
"timeUpdated": "8:01 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 6014,
"candidates": [
{
"candidateName": "Todd Lands",
"candidateIncumbent": true,
"candidateParty": "",
"voteCount": 2493
},
{
"candidateName": "Mark P. Laskey",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 1345
},
{
"candidateName": "Andrés Marquez",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 787
},
{
"candidateName": "Hannah Gart",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 701
},
{
"candidateName": "Trevor J. Ambrosini",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 688
}
]
},
"SonomaCotatiCityCouncil": {
"id": "SonomaCotatiCityCouncil",
"type": "localRace",
"location": "Sonoma",
"raceName": "Cotati City Council",
"raceDescription": "Top three candidates win seat.",
"raceReadTheStory": "",
"raceType": "top3",
"timeUpdated": "8:01 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 7669,
"candidates": [
{
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"candidateName": "Phillip Carter",
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"candidateName": "Jack Ding",
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"candidateName": "Dave Clemmer",
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"timeUpdated": "8:01 PM",
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{
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"candidateIncumbent": true,
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{
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"timeUpdated": "8:01 PM",
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{
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"raceReadTheStory": "",
"raceType": "yesNo",
"timeUpdated": "8:01 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 25053,
"candidates": [
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"raceType": "yesNo",
"timeUpdated": "8:01 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 40335,
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"SonomaMeasureK": {
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"timeUpdated": "8:01 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 8168,
"candidates": [
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"voteCount": 4599
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{
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"SonomaMeasureL": {
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"location": "Sonoma",
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"raceReadTheStory": "",
"raceType": "yesNo",
"timeUpdated": "8:01 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 3754,
"candidates": [
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"voteCount": 2355
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{
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"candidateIncumbent": false,
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"SonomaMeasureM": {
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"location": "Sonoma",
"raceName": "Measure M",
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"raceReadTheStory": "",
"raceType": "yesNo",
"timeUpdated": "8:01 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 3478,
"candidates": [
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"voteCount": 2340
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"timeUpdated": "8:01 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 6902,
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{
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"location": "Sonoma",
"raceName": "Measure P",
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"raceType": "yesNo",
"timeUpdated": "8:01 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 7920,
"candidates": [
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"voteCount": 4784
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{
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"SonomaMeasureX": {
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"location": "Sonoma",
"raceName": "Measure X",
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"raceReadTheStory": "",
"raceType": "yesNo",
"timeUpdated": "8:01 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 6576,
"candidates": [
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"candidateIncumbent": false,
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"voteCount": 3812
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{
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"candidateIncumbent": false,
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"SonomaMeasureZ": {
"id": "SonomaMeasureZ",
"type": "localRace",
"location": "Sonoma",
"raceName": "Measure Z",
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"raceReadTheStory": "",
"raceType": "yesNo",
"timeUpdated": "8:01 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 17602,
"candidates": [
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"candidateIncumbent": false,
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"voteCount": 11799
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"SonomaMeasureI": {
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"type": "localRace",
"location": "Sonoma",
"raceName": "Measure I",
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"raceReadTheStory": "",
"raceType": "yesNo",
"timeUpdated": "8:01 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 238355,
"candidates": [
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"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 149705
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"candidateIncumbent": false,
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"voteCount": 88650
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"location": "Sonoma",
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"raceReadTheStory": "",
"raceType": "yesNo",
"timeUpdated": "8:01 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 242253,
"candidates": [
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"voteCount": 36268
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{
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"SonomaMeasureEE": {
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"location": "Sonoma",
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"raceReadTheStory": "",
"raceType": "yesNo",
"timeUpdated": "8:01 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 77893,
"candidates": [
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{
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"SonomaMeasureFF": {
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"type": "localRace",
"location": "Sonoma",
"raceName": "Measure FF",
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"raceReadTheStory": "",
"raceType": "yesNo",
"timeUpdated": "8:01 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 77796,
"candidates": [
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"voteCount": 52589
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{
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"candidateIncumbent": false,
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"SonomaMeasureCC": {
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"type": "localRace",
"location": "Sonoma",
"raceName": "Measure CC",
"raceDescription": "Cloverdale. Urban growth boundary. Passes with majority vote.",
"raceReadTheStory": "",
"raceType": "yesNo",
"timeUpdated": "8:01 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 3950,
"candidates": [
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"candidateParty": "",
"voteCount": 2757
},
{
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"candidateIncumbent": false,
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"SonomaMeasureDD": {
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"type": "localRace",
"location": "Sonoma",
"raceName": "Measure DD",
"raceDescription": "Cloverdale. Sales tax. Passes with majority vote.",
"raceReadTheStory": "",
"raceType": "yesNo",
"timeUpdated": "8:01 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 3988,
"candidates": [
{
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"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 2274
},
{
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"candidateIncumbent": false,
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]
},
"SonomaMeasureS": {
"id": "SonomaMeasureS",
"type": "localRace",
"location": "Sonoma",
"raceName": "Measure S",
"raceDescription": "Cotati. Traffic features. Passes with majority vote.",
"raceReadTheStory": "",
"raceType": "yesNo",
"timeUpdated": "8:01 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 3777,
"candidates": [
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"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 2278
},
{
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"candidateIncumbent": false,
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]
},
"SonomaMeasureO": {
"id": "SonomaMeasureO",
"type": "localRace",
"location": "Sonoma",
"raceName": "Measure O",
"raceDescription": "Healdsburg. Multi-family housing. Passes with majority vote.",
"raceReadTheStory": "",
"raceType": "yesNo",
"timeUpdated": "8:01 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 5940,
"candidates": [
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"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 2615
},
{
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"candidateIncumbent": false,
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"voteCount": 3325
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]
},
"SonomaMeasureY": {
"id": "SonomaMeasureY",
"type": "localRace",
"location": "Sonoma",
"raceName": "Measure Y",
"raceDescription": "Petaluma. Urban growth boundary. Passes with majority vote.",
"raceReadTheStory": "",
"raceType": "yesNo",
"timeUpdated": "8:01 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 30759,
"candidates": [
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"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 21560
},
{
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"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 9199
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]
},
"SonomaMeasureU": {
"id": "SonomaMeasureU",
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