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
Alamo Drafthouse to Open Two South Bay Theaters in 2025
The national chain will open two new locations in Mountain View and Santa Clara.
Terrible at Buying Christmas Presents? Gift Ideas for 5 Personality Types
Not everyone has a knack for gift giving — and that's OK! Experts share tips on what to get for 5 personality types.
Robin Cook Sets His Latest Thriller in the Iconic Bellevue Psychiatric Hospital
Cook interned at New York’s infamous psychiatric hospital in the 1960s. Now, it’s the perfect setting for his latest thriller.
The Best Bay Area Music of 2024
KQED Arts & Culture staff and contributors share our 20 favorite albums and EPs of the year.
Ticket Alert: Kendrick Lamar at Oracle Park in San Francisco
Kendrick and SZA will play in San Francisco on May 29, 2025. Here's how to get tickets.
Demure, Sanewashing, ‘Staches: Trends to Move on From in 2025
With just weeks to go until the New Year, let's examine which viral TikToks are best left in 2024.
The Best Bay Area Theater We Saw in 2024
It was a thrilling year for Bay Area stages. David John Chavéz and Nicole Gluckstern pick their favorite shows of 2024.
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": "\u003cp>Have you ever bought a \u003ca href=\"https://www.kqed.org/arts/tag/christmas\">Christmas\u003c/a> gift for someone that you know just isn’t right for them? This often happens when we don’t take the time to consider the person’s interests — or are shopping at the last minute.\u003c/p>\n\u003cp>And when that happens, “that’s an awkward feeling” for both you and the recipient, says \u003ca href=\"https://www.rachelwmiller.com/\">Rachel Wilkerson Miller\u003c/a>, editor-in-chief of \u003cem>SELF Magazine\u003c/em>.\u003c/p>\n\u003cp>[aside postid='arts_13968491']This holiday season, let’s give our loved ones gifts they will actually appreciate, shall we? One easy way to do that is to think about their personality type as a guide for your choices, says Miller. People who are more practical, for example, probably won’t want the same kinds of presents as those who are sentimental.\u003c/p>\n\u003cp>The key is to “really think about your relationship with that person,” says \u003ca href=\"https://www.instagram.com/aasian/?hl=en\">Asia Jackson\u003c/a>, an actress and content creator who loves sharing gift ideas — \u003ca href=\"https://www.youtube.com/watch?v=Pd1YOxKbB-U\">especially low-cost ones\u003c/a> — with her nearly half a million YouTube subscribers.\u003c/p>\n\u003cp>“What have you been talking about in your conversations? What have you heard that they liked or disliked?” she says. Those insights can “give you an idea for what you could give to them.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Miller and Jackson share advice on how to buy meaningful presents for five different personality types.\u003c/p>\n\u003ch3>The practical one\u003c/h3>\n\u003cp>Got that special someone in your life who gets more excited about a tool kit than a designer purse? You might be dealing with a person who is into practical gifts.\u003c/p>\n\u003cp>Get them something they can use in their daily lives — whether it’s something that helps lower their spending costs or an item that has practical value (like a \u003ca href=\"https://www.foodnetwork.com/how-to/packages/shopping/product-reviews/best-can-openers\">really good can opener\u003c/a>).\u003c/p>\n\u003cp>Miller recommends gift cards for services like oil changes, car washes, house cleaning or dog walking. “[Think] about the pain points in their everyday life. What are they stressed about having to take care of? How can you take care of that for them?” she says.\u003c/p>\n\u003cp>[aside postid='arts_13968478']If you’re on a budget — think about how \u003cem>you\u003c/em> can provide the service. “Give them a booklet of [homemade] coupons,” says Jackson. “Write something like, ‘I’ll babysit your kid so you can have a date night out.’ “You can also make coupons for other errands like delivering meals or picking up groceries.\u003c/p>\n\u003cp>And if your practical gift recipient has a wish list — just get something off it, says Miller. For this personality type,”it’s not a copout. It’s fine to buy them exactly what they asked for” — a sensible solution for your sensible gift-recipient.\u003c/p>\n\u003ch3>The sentimental one\u003c/h3>\n\u003cp>A generic gift card likely won’t cut it for someone who gets misty-eyed at a handmade scrapbook. Gifts for a sentimental loved one should symbolize your relationship, says Miller.\u003c/p>\n\u003cp>Consider giving them a memento that relates to a memory you both share, she says. Let’s say your partner proposed to you this year at the fancy French restaurant where you first met. Miller says reach out to the business and ask for some help. Maybe get a print copy of the menu from that day and put it in a nice frame. Or get “the secret recipe to their amazing pumpkin bread,” says Miller. It shows you went the extra mile to get something special.\u003c/p>\n\u003cp>These gift recipients also love customized objects, says Miller. Think personalized T-shirts, charcuterie boards or jewelry on Etsy. They show how well you know the person and that you value their individuality.\u003c/p>\n\u003cp>Handmade gifts like paintings, ceramics and knitwear are great too, says Jackson. Sentimental types will cherish the time and effort you put into making these items. And don’t be afraid to keep things simple.”It could literally be an origami swan that says ‘I love you’ on it — and the person receiving it would appreciate it,” says Jackson.\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" src=\"https://media.npr.org/assets/img/2022/12/14/chart-gift_custom-4924a71e59d060105b87213d15114d5de4682337.jpg?s=1200&c=75&f=jpeg\">\u003cfigcaption>\u003ccite> (Malaka Gharib/ NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>The one who’s into experiences\u003c/h3>\n\u003cp>Maybe your loved one lights up more at the idea of a scenic hike than another tchotchke for their shelf.\u003c/p>\n\u003cp>For these folks, activity-based gifts are the way to go, says Miller. “You want [to get something with the] implication that we’re going to work on this thing together.” Think Lego sets (this \u003ca href=\"https://www.lego.com/en-us/product/succulents-10309\">one that looks like succulents\u003c/a> doubles as home decor), jigsaw puzzles and board games (like this addictive two-player \u003ca href=\"https://www.amazon.com/Board-Games-Two-Lanterns-MR01/dp/B00CS41TQ0\">mushroom-hunting game\u003c/a>, Morels). You could even get them a membership to a local museum you both enjoy.\u003c/p>\n\u003cp>Cookbooks also make terrific gifts, says Miller. Pick one that has a personal tie — maybe one written by a chef from a cooking show you both enjoy (\u003ca href=\"https://www.npr.org/2022/10/28/1132205161/mexican-cooking-ingredients-expert-tips\">or heard about\u003c/a> on \u003ca href=\"https://www.npr.org/2022/03/28/1089175288/authentic-cooking-korean-american-food\">Life Kit\u003c/a>!) — then suggest future dates to cook from the book together.\u003c/p>\n\u003ch3>The cozy one\u003c/h3>\n\u003cp>These gift recipients want something that not only feels good \u003cem>on\u003c/em> their body but helps them “feel good\u003cem> in\u003c/em> their own body,” says Jackson.\u003c/p>\n\u003cp>[aside postid='arts_13968322']Focus your attention on gifts that can help your loved one relax and de-stress, like a massage gun, says Miller. These handheld devices offer targeted vibration to simulate a massage at home.\u003c/p>\n\u003cp>Or get them soft and fuzzy items to get them into the \u003ca href=\"https://www.npr.org/2022/10/14/1128960386/its-hygge-season-how-to-embrace-the-danish-lifestyle-of-rest-and-coziness\">hygge spirit\u003c/a>, like a “lush robe or cozy blanket,” says Miller.\u003c/p>\n\u003cp>Turn your gift into an experience by pairing it with something that you can both do together. For example, if you’re giving a blanket, “give it with a popcorn bowl [and say] ‘this is for us to cuddle up and have movie night,'” says Miller.\u003c/p>\n\u003ch3>The one who has it all\u003c/h3>\n\u003cp>Lastly, there’s that person who just seems impossible to shop for. Whatever they want, they get for themselves. What’s left for you to give them?\u003c/p>\n\u003cp>One possible idea is to give them something totally fun and unexpected, says Miller — like a personalized video message from a celebrity. The app \u003ca href=\"https://www.cameo.com/?g_network=g&g_adid=519422005594&g_keyword=cameo&g_campaign=US_GGLADS_Core_ACQ_Evergreen_EM_CameoKeyword_SB_INT_ENG_110821_%28%29&g_adgroupid=128141006584&g_keywordid=kwd-13259836&utm_source=google&utm_campaign=12810371164&g_adtype=search&g_acctid=899-640-7900&g_campaignid=12810371164&utm_medium=cpc&utm_term=cameo-128141006584&&utm_campaign=12810371164&utm_source=google&utm_campaign=12810371164&utm_medium=cpc&utm_term=cameo-128141006584&gclid=CjwKCAiAheacBhB8EiwAItVO241b2sBVCjSavkFFI4GVfSz-vg_T9iVsLZ0rTMYDfkEgvxsO3395-RoCYjEQAvD_BwE&gclsrc=aw.ds\">Cameo\u003c/a>, for example, allows people to commission these messages from actors like Freddie Prinze, Jr., and musician Mark McGrath. Choose a celeb who your loved one would want to hear words of encouragement from — and “they can replay that whenever they need a little pick-me-up,” says Miller.\u003c/p>\n\u003cp>Another idea is to give them something priceless — like a heartfelt, handwritten letter telling them just how much they mean to you, says Jackson.\u003c/p>\n\u003cp>[aside postid='arts_13939307']She says that’s been one of the best gifts she’s ever given her father. Once, when they were on vacation together, Jackson wrote a note to him using the hotel notepad.\u003c/p>\n\u003cp>“I wrote this long letter and I put it underneath his phone,” says Jackson. The next morning, she heard sniffling. “I turned around and it was my dad reading the letter and he really, really appreciated it.”\u003c/p>\n\u003cp>If you’re still not quite sure what to give, don’t stress. Remember the golden rule of gift giving, says Miller. “It’s the thought that counts. If you get it wrong, there’s always next year.”\u003c/p>\n\u003cp>\u003cem>The digital story was edited by Malaka Gharib with art direction by Beck Harlan. We’d love to hear from you. Leave us a voicemail at \u003c/em>\u003ca href=\"tel:2022169823\">\u003cem>202-216-9823\u003c/em>\u003c/a>\u003cem>, or email us at \u003c/em>\u003ca href=\"mailto:LifeKit@npr.org\">\u003cem>LifeKit@npr.org\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Listen to Life Kit on\u003c/em>\u003ca href=\"http://n.pr/3LdRb0X\">\u003cem> Apple Podcasts\u003c/em>\u003c/a>\u003cem> and\u003c/em>\u003ca href=\"http://n.pr/3K3xVln\">\u003cem> Spotify\u003c/em>\u003c/a>\u003cem>, or sign up for our\u003c/em>\u003ca href=\"http://n.pr/3xN1tB9\">\u003cem> newsletter\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Have you ever bought a \u003ca href=\"https://www.kqed.org/arts/tag/christmas\">Christmas\u003c/a> gift for someone that you know just isn’t right for them? This often happens when we don’t take the time to consider the person’s interests — or are shopping at the last minute.\u003c/p>\n\u003cp>And when that happens, “that’s an awkward feeling” for both you and the recipient, says \u003ca href=\"https://www.rachelwmiller.com/\">Rachel Wilkerson Miller\u003c/a>, editor-in-chief of \u003cem>SELF Magazine\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>This holiday season, let’s give our loved ones gifts they will actually appreciate, shall we? One easy way to do that is to think about their personality type as a guide for your choices, says Miller. People who are more practical, for example, probably won’t want the same kinds of presents as those who are sentimental.\u003c/p>\n\u003cp>The key is to “really think about your relationship with that person,” says \u003ca href=\"https://www.instagram.com/aasian/?hl=en\">Asia Jackson\u003c/a>, an actress and content creator who loves sharing gift ideas — \u003ca href=\"https://www.youtube.com/watch?v=Pd1YOxKbB-U\">especially low-cost ones\u003c/a> — with her nearly half a million YouTube subscribers.\u003c/p>\n\u003cp>“What have you been talking about in your conversations? What have you heard that they liked or disliked?” she says. Those insights can “give you an idea for what you could give to them.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Miller and Jackson share advice on how to buy meaningful presents for five different personality types.\u003c/p>\n\u003ch3>The practical one\u003c/h3>\n\u003cp>Got that special someone in your life who gets more excited about a tool kit than a designer purse? You might be dealing with a person who is into practical gifts.\u003c/p>\n\u003cp>Get them something they can use in their daily lives — whether it’s something that helps lower their spending costs or an item that has practical value (like a \u003ca href=\"https://www.foodnetwork.com/how-to/packages/shopping/product-reviews/best-can-openers\">really good can opener\u003c/a>).\u003c/p>\n\u003cp>Miller recommends gift cards for services like oil changes, car washes, house cleaning or dog walking. “[Think] about the pain points in their everyday life. What are they stressed about having to take care of? How can you take care of that for them?” she says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>If you’re on a budget — think about how \u003cem>you\u003c/em> can provide the service. “Give them a booklet of [homemade] coupons,” says Jackson. “Write something like, ‘I’ll babysit your kid so you can have a date night out.’ “You can also make coupons for other errands like delivering meals or picking up groceries.\u003c/p>\n\u003cp>And if your practical gift recipient has a wish list — just get something off it, says Miller. For this personality type,”it’s not a copout. It’s fine to buy them exactly what they asked for” — a sensible solution for your sensible gift-recipient.\u003c/p>\n\u003ch3>The sentimental one\u003c/h3>\n\u003cp>A generic gift card likely won’t cut it for someone who gets misty-eyed at a handmade scrapbook. Gifts for a sentimental loved one should symbolize your relationship, says Miller.\u003c/p>\n\u003cp>Consider giving them a memento that relates to a memory you both share, she says. Let’s say your partner proposed to you this year at the fancy French restaurant where you first met. Miller says reach out to the business and ask for some help. Maybe get a print copy of the menu from that day and put it in a nice frame. Or get “the secret recipe to their amazing pumpkin bread,” says Miller. It shows you went the extra mile to get something special.\u003c/p>\n\u003cp>These gift recipients also love customized objects, says Miller. Think personalized T-shirts, charcuterie boards or jewelry on Etsy. They show how well you know the person and that you value their individuality.\u003c/p>\n\u003cp>Handmade gifts like paintings, ceramics and knitwear are great too, says Jackson. Sentimental types will cherish the time and effort you put into making these items. And don’t be afraid to keep things simple.”It could literally be an origami swan that says ‘I love you’ on it — and the person receiving it would appreciate it,” says Jackson.\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" src=\"https://media.npr.org/assets/img/2022/12/14/chart-gift_custom-4924a71e59d060105b87213d15114d5de4682337.jpg?s=1200&c=75&f=jpeg\">\u003cfigcaption>\u003ccite> (Malaka Gharib/ NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>The one who’s into experiences\u003c/h3>\n\u003cp>Maybe your loved one lights up more at the idea of a scenic hike than another tchotchke for their shelf.\u003c/p>\n\u003cp>For these folks, activity-based gifts are the way to go, says Miller. “You want [to get something with the] implication that we’re going to work on this thing together.” Think Lego sets (this \u003ca href=\"https://www.lego.com/en-us/product/succulents-10309\">one that looks like succulents\u003c/a> doubles as home decor), jigsaw puzzles and board games (like this addictive two-player \u003ca href=\"https://www.amazon.com/Board-Games-Two-Lanterns-MR01/dp/B00CS41TQ0\">mushroom-hunting game\u003c/a>, Morels). You could even get them a membership to a local museum you both enjoy.\u003c/p>\n\u003cp>Cookbooks also make terrific gifts, says Miller. Pick one that has a personal tie — maybe one written by a chef from a cooking show you both enjoy (\u003ca href=\"https://www.npr.org/2022/10/28/1132205161/mexican-cooking-ingredients-expert-tips\">or heard about\u003c/a> on \u003ca href=\"https://www.npr.org/2022/03/28/1089175288/authentic-cooking-korean-american-food\">Life Kit\u003c/a>!) — then suggest future dates to cook from the book together.\u003c/p>\n\u003ch3>The cozy one\u003c/h3>\n\u003cp>These gift recipients want something that not only feels good \u003cem>on\u003c/em> their body but helps them “feel good\u003cem> in\u003c/em> their own body,” says Jackson.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Focus your attention on gifts that can help your loved one relax and de-stress, like a massage gun, says Miller. These handheld devices offer targeted vibration to simulate a massage at home.\u003c/p>\n\u003cp>Or get them soft and fuzzy items to get them into the \u003ca href=\"https://www.npr.org/2022/10/14/1128960386/its-hygge-season-how-to-embrace-the-danish-lifestyle-of-rest-and-coziness\">hygge spirit\u003c/a>, like a “lush robe or cozy blanket,” says Miller.\u003c/p>\n\u003cp>Turn your gift into an experience by pairing it with something that you can both do together. For example, if you’re giving a blanket, “give it with a popcorn bowl [and say] ‘this is for us to cuddle up and have movie night,'” says Miller.\u003c/p>\n\u003ch3>The one who has it all\u003c/h3>\n\u003cp>Lastly, there’s that person who just seems impossible to shop for. Whatever they want, they get for themselves. What’s left for you to give them?\u003c/p>\n\u003cp>One possible idea is to give them something totally fun and unexpected, says Miller — like a personalized video message from a celebrity. The app \u003ca href=\"https://www.cameo.com/?g_network=g&g_adid=519422005594&g_keyword=cameo&g_campaign=US_GGLADS_Core_ACQ_Evergreen_EM_CameoKeyword_SB_INT_ENG_110821_%28%29&g_adgroupid=128141006584&g_keywordid=kwd-13259836&utm_source=google&utm_campaign=12810371164&g_adtype=search&g_acctid=899-640-7900&g_campaignid=12810371164&utm_medium=cpc&utm_term=cameo-128141006584&&utm_campaign=12810371164&utm_source=google&utm_campaign=12810371164&utm_medium=cpc&utm_term=cameo-128141006584&gclid=CjwKCAiAheacBhB8EiwAItVO241b2sBVCjSavkFFI4GVfSz-vg_T9iVsLZ0rTMYDfkEgvxsO3395-RoCYjEQAvD_BwE&gclsrc=aw.ds\">Cameo\u003c/a>, for example, allows people to commission these messages from actors like Freddie Prinze, Jr., and musician Mark McGrath. Choose a celeb who your loved one would want to hear words of encouragement from — and “they can replay that whenever they need a little pick-me-up,” says Miller.\u003c/p>\n\u003cp>Another idea is to give them something priceless — like a heartfelt, handwritten letter telling them just how much they mean to you, says Jackson.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>She says that’s been one of the best gifts she’s ever given her father. Once, when they were on vacation together, Jackson wrote a note to him using the hotel notepad.\u003c/p>\n\u003cp>“I wrote this long letter and I put it underneath his phone,” says Jackson. The next morning, she heard sniffling. “I turned around and it was my dad reading the letter and he really, really appreciated it.”\u003c/p>\n\u003cp>If you’re still not quite sure what to give, don’t stress. Remember the golden rule of gift giving, says Miller. “It’s the thought that counts. If you get it wrong, there’s always next year.”\u003c/p>\n\u003cp>\u003cem>The digital story was edited by Malaka Gharib with art direction by Beck Harlan. We’d love to hear from you. Leave us a voicemail at \u003c/em>\u003ca href=\"tel:2022169823\">\u003cem>202-216-9823\u003c/em>\u003c/a>\u003cem>, or email us at \u003c/em>\u003ca href=\"mailto:LifeKit@npr.org\">\u003cem>LifeKit@npr.org\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Listen to Life Kit on\u003c/em>\u003ca href=\"http://n.pr/3LdRb0X\">\u003cem> Apple Podcasts\u003c/em>\u003c/a>\u003cem> and\u003c/em>\u003ca href=\"http://n.pr/3K3xVln\">\u003cem> Spotify\u003c/em>\u003c/a>\u003cem>, or sign up for our\u003c/em>\u003ca href=\"http://n.pr/3xN1tB9\">\u003cem> newsletter\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cfigure id=\"attachment_13968937\" class=\"wp-caption aligncenter\" style=\"max-width: 1370px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968937\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/bellvue.png\" alt=\"A book cover depicting iron gates with the word 'Bellvue' on them. Cloudy skies hang low overhead.\" width=\"1370\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/bellvue.png 1370w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/bellvue-800x1168.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/bellvue-1020x1489.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/bellvue-160x234.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/bellvue-768x1121.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/bellvue-1052x1536.png 1052w\" sizes=\"(max-width: 1370px) 100vw, 1370px\">\u003cfigcaption class=\"wp-caption-text\">‘Bellevue’ by Robin Cook. \u003ccite>(G.P. Putnam's Sons)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The building on New York’s East Side that used to house Bellevue Psychiatric Hospital has inspired tales of horror from the likes of H.P. Lovecraft and served as the model for Arkham Asylum in fictional Gotham City. For novelist Robin Cook, who interned there in the 1960s, it’s the perfect setting for his latest medical thriller.\u003c/p>\n\u003cp>\u003cem>Bellevue\u003c/em> is set in the present day, but hearkens often to the hospital’s controversial and storied past. The plot centers around 23-year-old Mitt Fuller, embarking on his surgical residency at the iconic hospital. Mitt’s “long and impressive medical pedigree” goes back more than 400 years and includes three previous surgeons and a psychiatrist. It’s always been Mitt’s dream to follow in his forefathers’ footsteps.\u003c/p>\n\u003cp>[aside postid='arts_13968593']But this is a Robin Cook novel, so readers shouldn’t be surprised that Mitt’s dream slowly becomes a nightmare. Cook does a nice job of drawing readers into the tale, not horrifying them all at once. Mitt possesses a little precognitive power and can sometimes see things before they happen or sense when he’s in danger. So when forceps start moving of their own accord during a procedure or sutures untie themselves, readers and Mitt get a serious case of the heebie-jeebies.\u003c/p>\n\u003cp>Readers learn early in the story why the hospital is haunted, but dramatic irony is at play for more than a hundred pages as Mitt assembles the puzzle and unearths his family’s buried secrets. Mitt’s medical training and belief in science don’t exactly square with a haunted hospital, but when he meets another hospital employee whose family has a history at the institution, together they put together the rest of the pieces.\u003c/p>\n\u003cp>The denouement is jarring, but feels earned. Cook has told a tale that delivers a measure of justice for some patients, while preserving the dreadful mystique spelled out on top of the “decorative rusty wrought iron fence” at the southeastern corner of First Avenue and 30th Street: B-E-L-L-E-V-U-E.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>‘Bellevue’ by Robin Cook is out on Dec. 3, 2024, via G.P. Putnam’s Sons.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>As the year winds down, we at KQED Arts & Culture have been combing through our playlists, looking back at the local releases that impressed, surprised and inspired us — that made us dance and made us feel. Below, in no particular order, you’ll find 20 of our staff and contributors’ favorite albums and EPs of the year.\u003c/p>\n\u003cp>Just like the eclectic Bay Area scene, this list traverses genres as wide-ranging as hyphy, jazz, dance punk, cumbia and more. We hope you get to the end of it with something you’ve never heard before. Listen to our selections in full below, or check out our \u003ca href=\"https://open.spotify.com/playlist/6LakXNEvGqCJFpv9059e3m\">Spotify playlist\u003c/a>.\u003cem>—Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/6GF5uzX2s0GsS4eGlM4h3m?utm_source=generator\" width=\"100%\" height=\"352\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Kehlani, \u003cem>Crash\u003c/em> (Atlantic Records)\u003c/h2>\n\u003cp>Kehlani’s sexy banger “After Hours” revived a classic dancehall riddim that propelled 2000s hits by Nina Sky and Pitbull, but her album \u003ci>Crash\u003c/i> has range that goes far beyond the club. On ballads like “Chapel” and the title track (where she belts, “You kiss me like you wanna make love / to all my fuckin’ demons”), Kehlani yearns to be swallowed whole by an all-consuming love. On “Lose My Wife,” there’s a devil on her shoulder as she confesses to messy after-dark behavior. Yet the true jewel of the album is the unexpected collaboration “Sucia,” which pairs Kehlani with R&B veteran Jill Scott and queer reggaetonera Young Miko for poetic seduction with enchanting intensity.\u003cem>—Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/39wP7bJBE7c61XHR4Sgp1N?utm_source=generator\" width=\"100%\" height=\"352\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Ovrkast., \u003cem>Kast Got Wings\u003c/em> (IIIXL Studio)\u003c/h2>\n\u003cp>Over the past year Ovrkast. has produced tracks for Canadian superstar Drake, toured with rising DMV artist Mavi and rocked shows in his hometown of Oakland. On \u003cem>Kast Got Wings\u003c/em>, he joins forces with longtime hip-hop producer Cardo Got Wings for a fifteen-minute tape full of head nodding bars and murky beats. “PAYMEAGRIP” and “Up” are two of the more notable tracks, but nothing holds a candle to the song “Cut Up.” Its dark, cutty sample of a rolling piano is an Ovrkast. staple. Combined with drums that echo the funky, mobby, hyphy energy that emanates from the Bay, and served at the perfect tempo, it makes for a winning combination. On the track Ovrkast. says, “Niggas wanted something to go dumb to, so I gave it.” Meaning: if you like Bay Area hip-hop, this is for you.\u003cem>—Pendarvis Harshaw\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/5iXgFaNRHYGLj7GFVdN033?utm_source=generator\" width=\"100%\" height=\"352\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Sammy Shiblaq, \u003cem>The Project of Liberation\u003c/em> (Empire)\u003c/h2>\n\u003cp>On \u003ci>The Project of Liberation\u003c/i>, Sammy Shiblaq offers 16 soul-stirring tracks about the Palestinian struggle — and they all slap. The Detroit-raised, San José-based rapper puts listeners into the minds of everyday Palestinian people yearning for a normal life, who’ve had their homes bombed or stolen, and whose families and communities have been destroyed by Israel’s bombardment. Trunk-shaking anthems like “Gaza Strip 2 Detroit” and “48 Mile” hit the gas, with taut verses full of pride, indigence and defiance. Meanwhile, with their mournful melodies, “LLTR” and “Peace Without Freedom” make space for grief and heartbreak. Yet even as he takes in the horrors of Gaza’s humanitarian crisis, which human rights groups world-over have called a genocide, Shiblaq doesn’t leave listeners paralyzed with despair, but rather full of determination to work towards a more just world.\u003cem>—Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/02UIYqY314ZBQyRq6YRsgS?utm_source=generator\" width=\"100%\" height=\"352\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Shannon & The Clams, \u003cem>The Moon Is In the Wrong Place\u003c/em> (Easy Eye Sound)\u003c/h2>\n\u003cp>This is a gorgeous, gut-wrenching, love-soaked dream of an album born from a waking nightmare. When her fiancé died suddenly in a tragic 2022 accident, the world would have forgiven Shannon Shaw for taking some time away from the stage to heal and recalibrate. Instead, she and her band grieved the loss of Joe Haener by creating 14 gorgeous, multilayered tracks that successfully capture the beauty and wonder of true love, as well as all of the discombobulating darkness that lies in the depths of grief.\u003c/p>\n\u003cp>\u003cem>The Moon Is in the Wrong Place\u003c/em> catapulted Shannon & The Clams into space, adding a layer of otherworldliness to the classic retro rock ‘n’ roll sparkle that the band was already beloved for. Not only is the album the perfect tribute to Haener and his relationship with Shaw, it now stands as a source of comfort for anyone who’s ever lost the love of their life.\u003cem>—Rae Alexandra\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/5u1hWyjcalS7ItSE8CVorn?utm_source=generator\" width=\"100%\" height=\"352\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Siaira Shawn, \u003cem>Ephemera\u003c/em> (Over Everything)\u003c/h2>\n\u003cp>The latest album from this San Francisco-raised, Southern California-based R&B artist is a kaleidoscope of sultry soul and new funk. Shawn’s ability to combine pithy, poetic lyrics with heavenly vocal melodies is forefront in this project. On the song “Racing Home,” Shawn’s storytelling shines as she sings “Where’s the fire?” while passionately rushing home to a lover. Shawn floats on the standout track “Jujitsu,” singing about the dance that one does when they’re learning to properly love. And on the album’s first single, “What’s Better,” produced by Grammy-nominated Bay Area musician Mars Today, Shawn pauses time by speaking to the heart of anyone who has been so caught up in the throes of love that they’ve given jewelry to their partner in an effort to symbolize the depth of the connection. “My initials around your neck / But you don’t belong to me / But you belong to me,” sings Shawn. And in that, there’s a plea to the possessive lover in all of us.\u003cem>—Pendarvis Harshaw\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/7b8f4dCFRTPXc0YL0zjuEn?utm_source=generator\" width=\"100%\" height=\"352\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Paris Nights, \u003cem>Full Package: Act 2\u003c/em> (PlayTooMuch Entertainment)\u003c/h2>\n\u003cp>Unless you’ve been hibernating 24/7 in Siberia, you’ve likely seen “How’s It Goin’ Down,” an instantly hypnotic short video of East Oakland rapper Paris Nights flipping DMX’s classic track. Or you might have even seen her throwbacks to D’Angelo or Lauryn Hill. These viral hits helped her sell out Yoshi’s last month, but it was Paris Nights’ own music that sold me on her star quality. \u003cem>Full Package: Act 2\u003c/em> proves the East Oakland rapper’s skill and finesse on tracks like the fiancé-that-got-away ode “Love of My Life” and the flirtatious “My Way,” in which she raps circles around Kamaiyah. Meanwhile, Paris Nights’ heart is front and center in “From, Your Daughter,” an honest address to her mother reminiscent of Kehlani’s “The Letter.” EP closer “Proud” gives an emotional shoutout to everyone in her close circle. As long as she doesn’t lose that heart on her inevitable path upward, she’ll get the staying power her talent deserves.\u003cem>—Gabe Meline\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/3xeBFfWmIJR0mfR1cGCfUd?utm_source=generator\" width=\"100%\" height=\"352\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Fake Fruit, \u003cem>Mucho Mistrust\u003c/em> (Carpark Records)\u003c/h2>\n\u003cp>I first encountered Fake Fruit opening for the iconic South Bronx sister act ESG. Tasked with hyping a mostly past-middle-age crew of old punks and hip-hop aficionados, Hannah D’Amato, Alex Post and Miles MacDiarmid more than delivered, bringing high-energy, propulsive rock and no small amount of fun to the stage.\u003c/p>\n\u003cp>\u003ci>Mucho Mistrust\u003c/i>, their sophomore album, maintains that intensity, with choruses meant to be screamed back from a sweaty, ecstatically dancing crowd. D’Amato deploys sweetness and raw acidity in equal measure, chronicling what sounds like a rough year. “I hope you had a good time on your sympathy tour,” she deadpans on “Más O Menos,” ramping up the repeated lines to a shriek.\u003c/p>\n\u003cp>The album settles into mellow introspection, exchanging shreds for gentle, dreamy guitar and some well-deployed sax. By the final track, we’ve reached a shaky resolution: Progress isn’t always linear, go easy on yourself.\u003cem>—Sarah Hotchkiss\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3719145396/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Esotérica Tropical, \u003cem>Esotérica Tropical\u003c/em> (Self-released)\u003c/h2>\n\u003cp>A shaman and healer from Puerto Rico who found her musical identity in the East Bay, Maria Jose Montijo is known as Majo to friends and Esotérica Tropical on the bandstand. Her eponymous debut album is a wondrous collection of 10 songs and bomba-powered incantations, laced with love, longing and obeisance to ancestral ties, celebrating the natural world and her homeland. Part of what makes the album so enthralling is her fusion of folkloric instruments (harp and drums) with contemporary production via Luis Maurette, Heidi Lewandowski and Adam Partridge. Montijo’s voice is often set amidst an entrancing welter of Afro-Puerto Rican percussion from Julia Cepeda and Denise Solis. Tune-Yards’ Merrill Garbus contributes on “Realismo Mágico,” a song that combines metallic Tom Waits-ian clanks with soaring vocals. She’s not the first to ply these avant-folkloric waters, but Esotérica Tropical flows with a clarity and quenching succor all its own.\u003cem>—Andrew Gilbert\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/2dKS8Oj7T9u7U3UzAtVbJk?utm_source=generator\" width=\"100%\" height=\"352\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Seiji Oda, \u003cem>a gentle gigg…\u003c/em> (UKNOWME!)\u003c/h2>\n\u003cp>Seiji Oda’s \u003ci>a gentle gigg…\u003c/i> sounds like doing tai chi in a park while an old-school Chevy drives by slapping “Tell Me When To Go.” With fat 808s, gentle xylophone and a whispered cadence, the Oakland rapper taps into a very Bay Area cultural intersection of going dumb at the club Saturday night and waking up to do a mindfulness practice on Sunday. I mean, if you think about it, there’s a strong overlap between the dances of the hyphy movement and age-old somatic healing techniques, or as Oda sagely puts it on the title track, “When I gig all my problems leave through my limbs.”\u003c/p>\n\u003cp>That intuitive Baydrestrian wisdom captivated listeners all over the world. But the three EPs Oda released this year — \u003ci>a gentle gigg…\u003c/i>, \u003ca href=\"https://open.spotify.com/album/1226jmllv5To2StZyFzqK1?si=4qS4ys0WTyS9yPu_R7a2Tw\">\u003ci>Last Summer\u003c/i>\u003c/a> and \u003ca href=\"https://open.spotify.com/album/219hcVDmTTwKVs2FAEy1xZ?si=_ptPYLNjSN6DZ62TuIZMUw\">\u003ci>peace + chaos\u003c/i>\u003c/a> — show he’s not just a viral gimmick, but a talented musician with range who skillfully weaves hyphy, jazz, indie rock and Japanese city pop into a signature sound.\u003cem>—Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1637895938/size=large/bgcol=ffffff/linkcol=0687f5/license_id=3759/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Sour Widows, \u003cem>Revival of a Friend\u003c/em> (Exploding In Sound Records)\u003c/h2>\n\u003cp>A functional, touring indie rock band out of the Bay Area is rare these days. Simply being able to headline a bicoastal tour behind a new album places you in an elite class. So you really gotta hand it to Oakland’s Sour Widows, who’ve never wavered from making music they love and releasing and touring it exactly how they envisioned it. I remember how they fawned over Boston’s Pile as one of their favorite bands in 2019. Before long, they were on tour with Pile and then eventually, became labelmates on Exploding In Sound Records.\u003c/p>\n\u003cp>Fast forward to 2024, where Maia Sinaiko and Susanna Thomson have dealt with far more loss and tragedy than anyone oughta have to, and along with drummer Max Edelman, have beautifully distilled it into an album about the magic of friendship and the little things in life that get us through the most painful moments. All throughout \u003ci>Revival of a Friend\u003c/i>, they’ve harnessed their desire to write lasting songs, while also wanting to zone out and shred for a minute or two. You feel their catharsis when they see-saw vocally on “Witness” and on “I-90,” which might just be the best song they’ve ever written — filled with idealism, hope and unbridled love for what you desperately wish you could hold onto again.\u003ci>—Adrian Spinelli\u003c/i>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/4IczTorllzYqLnPNooQeUM?utm_source=generator\" width=\"100%\" height=\"352\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>La Doña, \u003cem>Los Altos de la Soledad\u003c/em> (Self-released)\u003c/h2>\n\u003cp>La Doña embraced her boldest ideas on \u003cem>Los Altos de la Soledad\u003c/em>. The ambitious album sees the singer and multi-instrumentalist ascend as a producer, bandleader and storyteller, creating a mosaic of Latin American styles and traditions in her ode to working class, immigrant San Francisco. For the sumptuous bolero “El Regreso,” a cinematic string section and jazz flute by Elena Pinderhughes underscore a sense of longing as La Doña sings the real-life story of her music student who migrated to the U.S. from Guatemala alone. That sensibility of music as oral history continues on protest anthem “Corrido Palestina,” where La Doña affirms the irrepressible determination of anti-war artists and activists. And just as she and her homegirls might go from the protest to the club, she rounds out the album with the reggaeton-meets-cumbia dance floor track “Mejor Que Matarte” and off-kilter party anthem “Cumbia Bellaka.”\u003cem>—Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/73tUZvr1SKfltx3RgZxXVf?utm_source=generator\" width=\"100%\" height=\"352\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Ramirez, \u003ci>The Warlock and the Gorilla\u003c/i> (G59 Records)\u003c/h2>\n\u003cp>Ramirez’s \u003cem>The Warlock and the Gorilla\u003c/em> sounds like a smooth ride through a thunderstorm in hell. The San Francisco MC, whose rap style descends from Memphis’ Three 6 Mafia, has an affinity for the dark side. On his latest project, he does two things really well: He pays tribute to rap classics and adds his own twisted lyrical flavor to the mix. The album contains a refreshingly grimy new interpolation of Silkk the Shocker’s “It Ain’t My Fault,” as well as songs that sample Too Short’s “Freaky Tales,” and King Chip’s “Interior Crocodile Alligator.” The aggressive, uptempo title track could be the soundtrack to a nightmare, and much of his album has demonic tones and references to violence. Yet Ramirez finds time to slip in a message about overcoming oppressive forces on “Casket Dreams,” featuring Pouya. He ends his second verse with the line “Always keep your head up when shit’s feeling too painful,” a reminder that even on a smooth ride through the underworld there’s room for some benevolence to emerge.\u003ci>—Pendarvis Harshaw\u003c/i>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3500570471/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Sam Reider and the Human Hands, \u003cem>The Golem and Other Tales\u003c/em> (Human Hands Music)\u003c/h2>\n\u003cp>A precociously gifted jazz pianist from San Francisco, Sam Reider fell in love with folk music and the accordion as an undergrad in New York City. Today, the Oakland-based artist is one of the most consistently interesting composers working in the unplugged realm where jazz, chamber music and various American folk idioms converge. His most ambitious project yet for his all-star Human Hands, \u003cem>The Golem and Other Tales\u003c/em>, centers on a narrative suite inspired by the Jewish legend of a supernatural creature that a rabbi conjures to life to protect the endangered Jews of Prague. Assigning each instrument to a different character, à la Prokofiev’s \u003cem>Peter and the Wolf\u003c/em>, Reider makes brilliant use of a stellar cast of players, including violinist Alex Hargreaves, alto saxophonist Eddie Barbash and Rising Appalachia fiddler and cellist Duncan Wickel, while artfully deploying an array of influences, from Duke Ellington and Astor Piazzolla to Bernard Herrmann and Raymond Scott.\u003cem>—Andrew Gilbert\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/6ACmRG5RiVmB0S9Pwqpi1b?utm_source=generator\" width=\"100%\" height=\"352\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>LaRussell and P-Lo, \u003cem>Majorly Independent\u003c/em> (Good Compenny)\u003c/h2>\n\u003cp>Who knew that a jazz-rap flip of D-Lo’s “No Hoe” was what the Bay Area needed in 2024? Just as I streamed the original track every day on MySpace in 2009, I’ve had LaRussell’s “Yankin’” on repeat in my headphones as I walk out the door to face the day. Delicate keys prance over pounding 808s as LaRussell, young up-and-comer Malachi and hyphy vet D-Lo trade bars that are cocky, comedic and just out-there enough to keep you hanging on every word. That playful spirit is evident in the rest of the project, produced by P-Lo, as LaRussell pays homage to the lineage of Bay Area rap. Richie Rich slides through with an ice-old verse on “What We Doin’.” (His answer? “Smokin’ on herb that’s superb.”) “Lil Lad” is another standout, where LaRussell raps about Bay Area hip-hop as the soundtrack to memories with his dad. \u003ci>Majorly Independent\u003c/i> asserts his place in that legacy.\u003cem>—Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=2436567542/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Tall Tee, \u003cem>Talk To Me\u003c/em> (Self-released)\u003c/h2>\n\u003cp>If you’ve ever found yourself cutting a rug to funk and boogie records from Egyptian Lover to Sandra de Sá at the cultish monthly Sweater Funk parties at the Knockout in the Mission, then \u003cem>Talk To Me\u003c/em> is for you. Dammit, if you just want to listen to music that’s fun as hell, then Tall Tee’s debut album is for you, too. The duo of Joog (from Vallejo) and Flex (from Frisco) have put down a record ripe for all sorts of celebrations. At times they come across like a Fil-Am Chromeo, funkifying their way through the back-and-forth vocals on “Gimme That” and two-step harmonizing on “Distant Lover.” “So Fly” comes with disco panache and yacht rock synths, before delivering a lyrical boogie-breakdown in the shape of “Rapper’s Delight.” There’s a lot to rally behind on \u003cem>Talk To Me\u003c/em>, an apt companion for feeling great.\u003cem>—Adrian Spinelli\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=2471383117/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Naked Roommate, \u003cem>Pass the Loofah\u003c/em> (Self-released)\u003c/h2>\n\u003cp>In their second studio album \u003cem>Pass the Loofah\u003c/em>, Naked Roommate return with a distinct blend of sounds that blur the line between dance punk and ’80s electro pop. Every instrumental choice in the album feels intentional yet haphazard, like the rich tenor sax in “Fight Flight” and the grainy, wavy static at the start of “Ducky & Viv.” Nostalgia bleeds through each song in some way or another, and if you listen closely, you can hear how every song is connected as the album progresses. There’s something inherently Bay Area, too, about songs like “Bus.” Beyond the fact that the song is a four-minute, grooving ode to public transportation, its lyrics echo a communal call to journey together, wherever life takes us: “Will you stay still as the world passes by? / Passes by / Passes on by / We take the bus.”\u003cem>—Shannon Faulise\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/0uyOPmxwf90ZetNWcyE1Gd?utm_source=generator\" width=\"100%\" height=\"352\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>John Mackk, \u003cem>Signing Day\u003c/em> (10K Projects)\u003c/h2>\n\u003cp>After it dropped in January, John Mackk’s \u003cem>Signing Day\u003c/em> sent ripple effects through the streets and across social media platforms. The high-octane Oakland rapper’s “Slow It Down,” which features a Bobby Valentino sample, has been one of the most popular songs out of the region over the past calendar year, and has been remixed multiple times with verses from the likes of Mozzy, Mike Sherm, 310babii and more. Produced by Denero “N3ro” Johnson, its combination of quaking bass and heavenly strings creates a catchy dynamic, especially when paired with Mackk’s lyrics. The song’s popularity might only be overshadowed by Mackk’s other 2024 single, “Pose For Me,” (which isn’t on his latest album).\u003cem>—Pendarvis Harshaw\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1423688760/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Osees, \u003cem>Sorcs 80\u003c/em> (Castle Face)\u003c/h2>\n\u003cp>Osees have put out so many albums and changed their name so many times (you might know them for their imperial San Francisco-based run as Thee Oh Sees), you’d imagine fans and critics would’ve gotten fatigue many times over. Yet John Dwyer’s ever-shifting garage-rock project seems to attract a new generation of fans with every new incarnation. Though they’ve been based in L.A. for a decade, you don’t have to look far in the Bay Area music scene to see bands barely of drinking age imitating Dwyer’s jerky presence and jarring whoops. It’s a testament to Osees’ malleability that \u003cem>Sorcs 80\u003c/em> lacks a single guitar and still feels essential. Hearing Dwyer and crew coax such brain-zapping sounds out of their synths is enough to give you faith in the future of rock as a fertile breeding ground for out-there ideas — especially if enough young punks rip off this record.\u003cem>—Daniel Bromfield\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=2418799346/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Quinn DeVeaux, \u003cem>Leisure\u003c/em> (Self-released)\u003c/h2>\n\u003cp>Quinn DeVeaux, a longtime singer and guitarist from Oakland, has always rooted his repertoire in blues, R&B, soul and gospel traditions. July’s \u003cem>Leisure\u003c/em> found him once again harnessing those distinctly American genres: A grab bag of styles like soul, rock and country, \u003cem>Leisure\u003c/em> is a rollicking good time that almost jumps out of your speakers. There’s so much energy packed into it, you almost feel like you’re seeing it live.\u003c/p>\n\u003cp>When it was first released, \u003cem>Leisure\u003c/em> felt like a crowd-pleasing record for barbecues and house parties. Recently, however, it has taken on new meaning for me. The way it pays respect to the very best of American music stirs up a strange patriotism: Though many of us may be losing faith in American institutions, \u003cem>Leisure\u003c/em> is a pointed reminder of one of our greatest cultural contributions to the world. Our artistic heritage is something we can’t afford to abandon, and something no one can truly take away — not so long as people like Quinn DeVeaux are keeping it alive.\u003cem>—Jody Amable\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1552304739/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Ian Carey & Wood Metal Plastic, \u003cem>Strange Arts\u003c/em> (Kabocha)\u003c/h2>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Strange Arts\u003c/em>, the new album by El Cerrito trumpeter Ian Carey, is less a soundtrack for the visual feast left by his father than a fruitful preliminary dialogue. A maestro of assemblage and collage, Philip Carey created strange and captivating works out of everyday materials. While sorting and archiving the estate after his father’s death in 2022, Ian came to evoke the art’s insistent patterns in the music he wrote for Wood Metal Plastic. Featuring alto saxophonist Kasey Knudsen, bassist Lisa Mezzacappa, drummer Jon Arkin, cellist Jessica Ivry and violinists Alisa Rose and Mia Bella d’Augelli, the seven-piece combo works as a unified ensemble rather than jazz quartet plus strings. Flowing from lush, thickly orchestrated harmonies and quicksilver counterpoint to dissonant undercurrents and skittering cross-section voicings, Carey’s writing unfolds in a bright, liminal dominion where post-bop, free improv and chamber music cavort in playful sympathy.\u003cem>—Andrew Gilbert\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As the year winds down, we at KQED Arts & Culture have been combing through our playlists, looking back at the local releases that impressed, surprised and inspired us — that made us dance and made us feel. Below, in no particular order, you’ll find 20 of our staff and contributors’ favorite albums and EPs of the year.\u003c/p>\n\u003cp>Just like the eclectic Bay Area scene, this list traverses genres as wide-ranging as hyphy, jazz, dance punk, cumbia and more. We hope you get to the end of it with something you’ve never heard before. Listen to our selections in full below, or check out our \u003ca href=\"https://open.spotify.com/playlist/6LakXNEvGqCJFpv9059e3m\">Spotify playlist\u003c/a>.\u003cem>—Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/6GF5uzX2s0GsS4eGlM4h3m?utm_source=generator\" width=\"100%\" height=\"352\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Kehlani, \u003cem>Crash\u003c/em> (Atlantic Records)\u003c/h2>\n\u003cp>Kehlani’s sexy banger “After Hours” revived a classic dancehall riddim that propelled 2000s hits by Nina Sky and Pitbull, but her album \u003ci>Crash\u003c/i> has range that goes far beyond the club. On ballads like “Chapel” and the title track (where she belts, “You kiss me like you wanna make love / to all my fuckin’ demons”), Kehlani yearns to be swallowed whole by an all-consuming love. On “Lose My Wife,” there’s a devil on her shoulder as she confesses to messy after-dark behavior. Yet the true jewel of the album is the unexpected collaboration “Sucia,” which pairs Kehlani with R&B veteran Jill Scott and queer reggaetonera Young Miko for poetic seduction with enchanting intensity.\u003cem>—Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/39wP7bJBE7c61XHR4Sgp1N?utm_source=generator\" width=\"100%\" height=\"352\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Ovrkast., \u003cem>Kast Got Wings\u003c/em> (IIIXL Studio)\u003c/h2>\n\u003cp>Over the past year Ovrkast. has produced tracks for Canadian superstar Drake, toured with rising DMV artist Mavi and rocked shows in his hometown of Oakland. On \u003cem>Kast Got Wings\u003c/em>, he joins forces with longtime hip-hop producer Cardo Got Wings for a fifteen-minute tape full of head nodding bars and murky beats. “PAYMEAGRIP” and “Up” are two of the more notable tracks, but nothing holds a candle to the song “Cut Up.” Its dark, cutty sample of a rolling piano is an Ovrkast. staple. Combined with drums that echo the funky, mobby, hyphy energy that emanates from the Bay, and served at the perfect tempo, it makes for a winning combination. On the track Ovrkast. says, “Niggas wanted something to go dumb to, so I gave it.” Meaning: if you like Bay Area hip-hop, this is for you.\u003cem>—Pendarvis Harshaw\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/5iXgFaNRHYGLj7GFVdN033?utm_source=generator\" width=\"100%\" height=\"352\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Sammy Shiblaq, \u003cem>The Project of Liberation\u003c/em> (Empire)\u003c/h2>\n\u003cp>On \u003ci>The Project of Liberation\u003c/i>, Sammy Shiblaq offers 16 soul-stirring tracks about the Palestinian struggle — and they all slap. The Detroit-raised, San José-based rapper puts listeners into the minds of everyday Palestinian people yearning for a normal life, who’ve had their homes bombed or stolen, and whose families and communities have been destroyed by Israel’s bombardment. Trunk-shaking anthems like “Gaza Strip 2 Detroit” and “48 Mile” hit the gas, with taut verses full of pride, indigence and defiance. Meanwhile, with their mournful melodies, “LLTR” and “Peace Without Freedom” make space for grief and heartbreak. Yet even as he takes in the horrors of Gaza’s humanitarian crisis, which human rights groups world-over have called a genocide, Shiblaq doesn’t leave listeners paralyzed with despair, but rather full of determination to work towards a more just world.\u003cem>—Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/02UIYqY314ZBQyRq6YRsgS?utm_source=generator\" width=\"100%\" height=\"352\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Shannon & The Clams, \u003cem>The Moon Is In the Wrong Place\u003c/em> (Easy Eye Sound)\u003c/h2>\n\u003cp>This is a gorgeous, gut-wrenching, love-soaked dream of an album born from a waking nightmare. When her fiancé died suddenly in a tragic 2022 accident, the world would have forgiven Shannon Shaw for taking some time away from the stage to heal and recalibrate. Instead, she and her band grieved the loss of Joe Haener by creating 14 gorgeous, multilayered tracks that successfully capture the beauty and wonder of true love, as well as all of the discombobulating darkness that lies in the depths of grief.\u003c/p>\n\u003cp>\u003cem>The Moon Is in the Wrong Place\u003c/em> catapulted Shannon & The Clams into space, adding a layer of otherworldliness to the classic retro rock ‘n’ roll sparkle that the band was already beloved for. Not only is the album the perfect tribute to Haener and his relationship with Shaw, it now stands as a source of comfort for anyone who’s ever lost the love of their life.\u003cem>—Rae Alexandra\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/5u1hWyjcalS7ItSE8CVorn?utm_source=generator\" width=\"100%\" height=\"352\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Siaira Shawn, \u003cem>Ephemera\u003c/em> (Over Everything)\u003c/h2>\n\u003cp>The latest album from this San Francisco-raised, Southern California-based R&B artist is a kaleidoscope of sultry soul and new funk. Shawn’s ability to combine pithy, poetic lyrics with heavenly vocal melodies is forefront in this project. On the song “Racing Home,” Shawn’s storytelling shines as she sings “Where’s the fire?” while passionately rushing home to a lover. Shawn floats on the standout track “Jujitsu,” singing about the dance that one does when they’re learning to properly love. And on the album’s first single, “What’s Better,” produced by Grammy-nominated Bay Area musician Mars Today, Shawn pauses time by speaking to the heart of anyone who has been so caught up in the throes of love that they’ve given jewelry to their partner in an effort to symbolize the depth of the connection. “My initials around your neck / But you don’t belong to me / But you belong to me,” sings Shawn. And in that, there’s a plea to the possessive lover in all of us.\u003cem>—Pendarvis Harshaw\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/7b8f4dCFRTPXc0YL0zjuEn?utm_source=generator\" width=\"100%\" height=\"352\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Paris Nights, \u003cem>Full Package: Act 2\u003c/em> (PlayTooMuch Entertainment)\u003c/h2>\n\u003cp>Unless you’ve been hibernating 24/7 in Siberia, you’ve likely seen “How’s It Goin’ Down,” an instantly hypnotic short video of East Oakland rapper Paris Nights flipping DMX’s classic track. Or you might have even seen her throwbacks to D’Angelo or Lauryn Hill. These viral hits helped her sell out Yoshi’s last month, but it was Paris Nights’ own music that sold me on her star quality. \u003cem>Full Package: Act 2\u003c/em> proves the East Oakland rapper’s skill and finesse on tracks like the fiancé-that-got-away ode “Love of My Life” and the flirtatious “My Way,” in which she raps circles around Kamaiyah. Meanwhile, Paris Nights’ heart is front and center in “From, Your Daughter,” an honest address to her mother reminiscent of Kehlani’s “The Letter.” EP closer “Proud” gives an emotional shoutout to everyone in her close circle. As long as she doesn’t lose that heart on her inevitable path upward, she’ll get the staying power her talent deserves.\u003cem>—Gabe Meline\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/3xeBFfWmIJR0mfR1cGCfUd?utm_source=generator\" width=\"100%\" height=\"352\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Fake Fruit, \u003cem>Mucho Mistrust\u003c/em> (Carpark Records)\u003c/h2>\n\u003cp>I first encountered Fake Fruit opening for the iconic South Bronx sister act ESG. Tasked with hyping a mostly past-middle-age crew of old punks and hip-hop aficionados, Hannah D’Amato, Alex Post and Miles MacDiarmid more than delivered, bringing high-energy, propulsive rock and no small amount of fun to the stage.\u003c/p>\n\u003cp>\u003ci>Mucho Mistrust\u003c/i>, their sophomore album, maintains that intensity, with choruses meant to be screamed back from a sweaty, ecstatically dancing crowd. D’Amato deploys sweetness and raw acidity in equal measure, chronicling what sounds like a rough year. “I hope you had a good time on your sympathy tour,” she deadpans on “Más O Menos,” ramping up the repeated lines to a shriek.\u003c/p>\n\u003cp>The album settles into mellow introspection, exchanging shreds for gentle, dreamy guitar and some well-deployed sax. By the final track, we’ve reached a shaky resolution: Progress isn’t always linear, go easy on yourself.\u003cem>—Sarah Hotchkiss\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3719145396/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Esotérica Tropical, \u003cem>Esotérica Tropical\u003c/em> (Self-released)\u003c/h2>\n\u003cp>A shaman and healer from Puerto Rico who found her musical identity in the East Bay, Maria Jose Montijo is known as Majo to friends and Esotérica Tropical on the bandstand. Her eponymous debut album is a wondrous collection of 10 songs and bomba-powered incantations, laced with love, longing and obeisance to ancestral ties, celebrating the natural world and her homeland. Part of what makes the album so enthralling is her fusion of folkloric instruments (harp and drums) with contemporary production via Luis Maurette, Heidi Lewandowski and Adam Partridge. Montijo’s voice is often set amidst an entrancing welter of Afro-Puerto Rican percussion from Julia Cepeda and Denise Solis. Tune-Yards’ Merrill Garbus contributes on “Realismo Mágico,” a song that combines metallic Tom Waits-ian clanks with soaring vocals. She’s not the first to ply these avant-folkloric waters, but Esotérica Tropical flows with a clarity and quenching succor all its own.\u003cem>—Andrew Gilbert\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/2dKS8Oj7T9u7U3UzAtVbJk?utm_source=generator\" width=\"100%\" height=\"352\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Seiji Oda, \u003cem>a gentle gigg…\u003c/em> (UKNOWME!)\u003c/h2>\n\u003cp>Seiji Oda’s \u003ci>a gentle gigg…\u003c/i> sounds like doing tai chi in a park while an old-school Chevy drives by slapping “Tell Me When To Go.” With fat 808s, gentle xylophone and a whispered cadence, the Oakland rapper taps into a very Bay Area cultural intersection of going dumb at the club Saturday night and waking up to do a mindfulness practice on Sunday. I mean, if you think about it, there’s a strong overlap between the dances of the hyphy movement and age-old somatic healing techniques, or as Oda sagely puts it on the title track, “When I gig all my problems leave through my limbs.”\u003c/p>\n\u003cp>That intuitive Baydrestrian wisdom captivated listeners all over the world. But the three EPs Oda released this year — \u003ci>a gentle gigg…\u003c/i>, \u003ca href=\"https://open.spotify.com/album/1226jmllv5To2StZyFzqK1?si=4qS4ys0WTyS9yPu_R7a2Tw\">\u003ci>Last Summer\u003c/i>\u003c/a> and \u003ca href=\"https://open.spotify.com/album/219hcVDmTTwKVs2FAEy1xZ?si=_ptPYLNjSN6DZ62TuIZMUw\">\u003ci>peace + chaos\u003c/i>\u003c/a> — show he’s not just a viral gimmick, but a talented musician with range who skillfully weaves hyphy, jazz, indie rock and Japanese city pop into a signature sound.\u003cem>—Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1637895938/size=large/bgcol=ffffff/linkcol=0687f5/license_id=3759/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Sour Widows, \u003cem>Revival of a Friend\u003c/em> (Exploding In Sound Records)\u003c/h2>\n\u003cp>A functional, touring indie rock band out of the Bay Area is rare these days. Simply being able to headline a bicoastal tour behind a new album places you in an elite class. So you really gotta hand it to Oakland’s Sour Widows, who’ve never wavered from making music they love and releasing and touring it exactly how they envisioned it. I remember how they fawned over Boston’s Pile as one of their favorite bands in 2019. Before long, they were on tour with Pile and then eventually, became labelmates on Exploding In Sound Records.\u003c/p>\n\u003cp>Fast forward to 2024, where Maia Sinaiko and Susanna Thomson have dealt with far more loss and tragedy than anyone oughta have to, and along with drummer Max Edelman, have beautifully distilled it into an album about the magic of friendship and the little things in life that get us through the most painful moments. All throughout \u003ci>Revival of a Friend\u003c/i>, they’ve harnessed their desire to write lasting songs, while also wanting to zone out and shred for a minute or two. You feel their catharsis when they see-saw vocally on “Witness” and on “I-90,” which might just be the best song they’ve ever written — filled with idealism, hope and unbridled love for what you desperately wish you could hold onto again.\u003ci>—Adrian Spinelli\u003c/i>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/4IczTorllzYqLnPNooQeUM?utm_source=generator\" width=\"100%\" height=\"352\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>La Doña, \u003cem>Los Altos de la Soledad\u003c/em> (Self-released)\u003c/h2>\n\u003cp>La Doña embraced her boldest ideas on \u003cem>Los Altos de la Soledad\u003c/em>. The ambitious album sees the singer and multi-instrumentalist ascend as a producer, bandleader and storyteller, creating a mosaic of Latin American styles and traditions in her ode to working class, immigrant San Francisco. For the sumptuous bolero “El Regreso,” a cinematic string section and jazz flute by Elena Pinderhughes underscore a sense of longing as La Doña sings the real-life story of her music student who migrated to the U.S. from Guatemala alone. That sensibility of music as oral history continues on protest anthem “Corrido Palestina,” where La Doña affirms the irrepressible determination of anti-war artists and activists. And just as she and her homegirls might go from the protest to the club, she rounds out the album with the reggaeton-meets-cumbia dance floor track “Mejor Que Matarte” and off-kilter party anthem “Cumbia Bellaka.”\u003cem>—Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/73tUZvr1SKfltx3RgZxXVf?utm_source=generator\" width=\"100%\" height=\"352\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Ramirez, \u003ci>The Warlock and the Gorilla\u003c/i> (G59 Records)\u003c/h2>\n\u003cp>Ramirez’s \u003cem>The Warlock and the Gorilla\u003c/em> sounds like a smooth ride through a thunderstorm in hell. The San Francisco MC, whose rap style descends from Memphis’ Three 6 Mafia, has an affinity for the dark side. On his latest project, he does two things really well: He pays tribute to rap classics and adds his own twisted lyrical flavor to the mix. The album contains a refreshingly grimy new interpolation of Silkk the Shocker’s “It Ain’t My Fault,” as well as songs that sample Too Short’s “Freaky Tales,” and King Chip’s “Interior Crocodile Alligator.” The aggressive, uptempo title track could be the soundtrack to a nightmare, and much of his album has demonic tones and references to violence. Yet Ramirez finds time to slip in a message about overcoming oppressive forces on “Casket Dreams,” featuring Pouya. He ends his second verse with the line “Always keep your head up when shit’s feeling too painful,” a reminder that even on a smooth ride through the underworld there’s room for some benevolence to emerge.\u003ci>—Pendarvis Harshaw\u003c/i>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3500570471/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Sam Reider and the Human Hands, \u003cem>The Golem and Other Tales\u003c/em> (Human Hands Music)\u003c/h2>\n\u003cp>A precociously gifted jazz pianist from San Francisco, Sam Reider fell in love with folk music and the accordion as an undergrad in New York City. Today, the Oakland-based artist is one of the most consistently interesting composers working in the unplugged realm where jazz, chamber music and various American folk idioms converge. His most ambitious project yet for his all-star Human Hands, \u003cem>The Golem and Other Tales\u003c/em>, centers on a narrative suite inspired by the Jewish legend of a supernatural creature that a rabbi conjures to life to protect the endangered Jews of Prague. Assigning each instrument to a different character, à la Prokofiev’s \u003cem>Peter and the Wolf\u003c/em>, Reider makes brilliant use of a stellar cast of players, including violinist Alex Hargreaves, alto saxophonist Eddie Barbash and Rising Appalachia fiddler and cellist Duncan Wickel, while artfully deploying an array of influences, from Duke Ellington and Astor Piazzolla to Bernard Herrmann and Raymond Scott.\u003cem>—Andrew Gilbert\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/6ACmRG5RiVmB0S9Pwqpi1b?utm_source=generator\" width=\"100%\" height=\"352\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>LaRussell and P-Lo, \u003cem>Majorly Independent\u003c/em> (Good Compenny)\u003c/h2>\n\u003cp>Who knew that a jazz-rap flip of D-Lo’s “No Hoe” was what the Bay Area needed in 2024? Just as I streamed the original track every day on MySpace in 2009, I’ve had LaRussell’s “Yankin’” on repeat in my headphones as I walk out the door to face the day. Delicate keys prance over pounding 808s as LaRussell, young up-and-comer Malachi and hyphy vet D-Lo trade bars that are cocky, comedic and just out-there enough to keep you hanging on every word. That playful spirit is evident in the rest of the project, produced by P-Lo, as LaRussell pays homage to the lineage of Bay Area rap. Richie Rich slides through with an ice-old verse on “What We Doin’.” (His answer? “Smokin’ on herb that’s superb.”) “Lil Lad” is another standout, where LaRussell raps about Bay Area hip-hop as the soundtrack to memories with his dad. \u003ci>Majorly Independent\u003c/i> asserts his place in that legacy.\u003cem>—Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=2436567542/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Tall Tee, \u003cem>Talk To Me\u003c/em> (Self-released)\u003c/h2>\n\u003cp>If you’ve ever found yourself cutting a rug to funk and boogie records from Egyptian Lover to Sandra de Sá at the cultish monthly Sweater Funk parties at the Knockout in the Mission, then \u003cem>Talk To Me\u003c/em> is for you. Dammit, if you just want to listen to music that’s fun as hell, then Tall Tee’s debut album is for you, too. The duo of Joog (from Vallejo) and Flex (from Frisco) have put down a record ripe for all sorts of celebrations. At times they come across like a Fil-Am Chromeo, funkifying their way through the back-and-forth vocals on “Gimme That” and two-step harmonizing on “Distant Lover.” “So Fly” comes with disco panache and yacht rock synths, before delivering a lyrical boogie-breakdown in the shape of “Rapper’s Delight.” There’s a lot to rally behind on \u003cem>Talk To Me\u003c/em>, an apt companion for feeling great.\u003cem>—Adrian Spinelli\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=2471383117/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Naked Roommate, \u003cem>Pass the Loofah\u003c/em> (Self-released)\u003c/h2>\n\u003cp>In their second studio album \u003cem>Pass the Loofah\u003c/em>, Naked Roommate return with a distinct blend of sounds that blur the line between dance punk and ’80s electro pop. Every instrumental choice in the album feels intentional yet haphazard, like the rich tenor sax in “Fight Flight” and the grainy, wavy static at the start of “Ducky & Viv.” Nostalgia bleeds through each song in some way or another, and if you listen closely, you can hear how every song is connected as the album progresses. There’s something inherently Bay Area, too, about songs like “Bus.” Beyond the fact that the song is a four-minute, grooving ode to public transportation, its lyrics echo a communal call to journey together, wherever life takes us: “Will you stay still as the world passes by? / Passes by / Passes on by / We take the bus.”\u003cem>—Shannon Faulise\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/0uyOPmxwf90ZetNWcyE1Gd?utm_source=generator\" width=\"100%\" height=\"352\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>John Mackk, \u003cem>Signing Day\u003c/em> (10K Projects)\u003c/h2>\n\u003cp>After it dropped in January, John Mackk’s \u003cem>Signing Day\u003c/em> sent ripple effects through the streets and across social media platforms. The high-octane Oakland rapper’s “Slow It Down,” which features a Bobby Valentino sample, has been one of the most popular songs out of the region over the past calendar year, and has been remixed multiple times with verses from the likes of Mozzy, Mike Sherm, 310babii and more. Produced by Denero “N3ro” Johnson, its combination of quaking bass and heavenly strings creates a catchy dynamic, especially when paired with Mackk’s lyrics. The song’s popularity might only be overshadowed by Mackk’s other 2024 single, “Pose For Me,” (which isn’t on his latest album).\u003cem>—Pendarvis Harshaw\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1423688760/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Osees, \u003cem>Sorcs 80\u003c/em> (Castle Face)\u003c/h2>\n\u003cp>Osees have put out so many albums and changed their name so many times (you might know them for their imperial San Francisco-based run as Thee Oh Sees), you’d imagine fans and critics would’ve gotten fatigue many times over. Yet John Dwyer’s ever-shifting garage-rock project seems to attract a new generation of fans with every new incarnation. Though they’ve been based in L.A. for a decade, you don’t have to look far in the Bay Area music scene to see bands barely of drinking age imitating Dwyer’s jerky presence and jarring whoops. It’s a testament to Osees’ malleability that \u003cem>Sorcs 80\u003c/em> lacks a single guitar and still feels essential. Hearing Dwyer and crew coax such brain-zapping sounds out of their synths is enough to give you faith in the future of rock as a fertile breeding ground for out-there ideas — especially if enough young punks rip off this record.\u003cem>—Daniel Bromfield\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=2418799346/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Quinn DeVeaux, \u003cem>Leisure\u003c/em> (Self-released)\u003c/h2>\n\u003cp>Quinn DeVeaux, a longtime singer and guitarist from Oakland, has always rooted his repertoire in blues, R&B, soul and gospel traditions. July’s \u003cem>Leisure\u003c/em> found him once again harnessing those distinctly American genres: A grab bag of styles like soul, rock and country, \u003cem>Leisure\u003c/em> is a rollicking good time that almost jumps out of your speakers. There’s so much energy packed into it, you almost feel like you’re seeing it live.\u003c/p>\n\u003cp>When it was first released, \u003cem>Leisure\u003c/em> felt like a crowd-pleasing record for barbecues and house parties. Recently, however, it has taken on new meaning for me. The way it pays respect to the very best of American music stirs up a strange patriotism: Though many of us may be losing faith in American institutions, \u003cem>Leisure\u003c/em> is a pointed reminder of one of our greatest cultural contributions to the world. Our artistic heritage is something we can’t afford to abandon, and something no one can truly take away — not so long as people like Quinn DeVeaux are keeping it alive.\u003cem>—Jody Amable\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1552304739/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Ian Carey & Wood Metal Plastic, \u003cem>Strange Arts\u003c/em> (Kabocha)\u003c/h2>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Strange Arts\u003c/em>, the new album by El Cerrito trumpeter Ian Carey, is less a soundtrack for the visual feast left by his father than a fruitful preliminary dialogue. A maestro of assemblage and collage, Philip Carey created strange and captivating works out of everyday materials. While sorting and archiving the estate after his father’s death in 2022, Ian came to evoke the art’s insistent patterns in the music he wrote for Wood Metal Plastic. Featuring alto saxophonist Kasey Knudsen, bassist Lisa Mezzacappa, drummer Jon Arkin, cellist Jessica Ivry and violinists Alisa Rose and Mia Bella d’Augelli, the seven-piece combo works as a unified ensemble rather than jazz quartet plus strings. Flowing from lush, thickly orchestrated harmonies and quicksilver counterpoint to dissonant undercurrents and skittering cross-section voicings, Carey’s writing unfolds in a bright, liminal dominion where post-bop, free improv and chamber music cavort in playful sympathy.\u003cem>—Andrew Gilbert\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/kendrick-lamar\">Kendrick Lamar\u003c/a> has announced \u003ca href=\"https://grandnationaltour.com/\">a show with SZA in San Francisco on May 29, 2025\u003c/a>, in yet another victory lap after scoring the \u003ca href=\"https://pitchfork.com/features/lists-and-guides/best-songs-2024/\">song of the year\u003c/a>. Tickets go on sale this week, including an early onsale with a presale code. Here’s how to get them. \u003c/p>\n\u003cp>Presale tickets for Kendrick go on sale \u003ca href=\"https://www.ticketmaster.com/event/1C00617ABDC22B88\">Wednesday, Dec. 4, at 10 a.m. Pacific Time\u003c/a>, and because we live in a corporate dystopia, they’re only available to Cash App Visa cardholders. Ticketmaster, as usual, doesn’t provide details about what that means.\u003c/p>\n\u003cp>Here’s what to know.\u003c/p>\n\u003cp>[aside postID='arts_13968608']You can get a Cash App Visa card by opening the Cash App app and selecting the rectangular card icon at the bottom, second from the left. Select “Get Your Free Card.” Choose the free option, enter your street address, and — because we live in a \u003cem>surveillance\u003c/em> dystopia — enter your social security number. Scroll past a bunch of terms and conditions that nobody reads, hit “continue,” and you’re done. \u003c/p>\n\u003cp>Your physical card will show up in the mail later, but you can still use your card number to buy tickets. Select the card icon at the bottom of the app again, and your virtual card will be displayed. Tap the “eye” icon in the upper right of the card to show the full card number. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Then, about 10-15 minutes before 10 a.m. Pacific Time, go to \u003ca href=\"https://www.ticketmaster.com/event/1C00617ABDC22B88\">the San Francisco show ticket link\u003c/a> (you may be put in a “waiting room”) and enter the first nine digits of your Cash App Visa card. That is your presale code which will unlock the presale, and when you finally see a seat map and select the tickets you want, you’ll have to buy the tickets using your Cash App card number.\u003c/p>\n\u003cp>[aside postID='arts_13960019']You will also need to \u003ca href=\"https://cash.app/exclusives/kendrickandsza\">active your card and pre-load money into your Cash App balance\u003c/a> before this entire process; the card is not a conventional credit card, and works more like a debit card. How much money, you may wonder? Who knows, because we live in a \u003cem>consumerist\u003c/em> dystopia, and Ticketmaster refuses to advertise ticket prices before the onsale, while Cash App will be happy for you to anxiously pre-load $1,000 on their card and then forget about your remaining balance afterward. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>If you want to skip this labyrinthian nonsense and take your chances with the general public onsale, that happens on \u003ca href=\"https://www.ticketmaster.com/event/1C00617ABDC22B88\">Friday, Dec. 6, at 10 a.m. Pacific Time\u003c/a>. Oracle Park holds over 40,000 people. If you’re okay with sitting in the stands, you might be good. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/kendrick-lamar\">Kendrick Lamar\u003c/a> has announced \u003ca href=\"https://grandnationaltour.com/\">a show with SZA in San Francisco on May 29, 2025\u003c/a>, in yet another victory lap after scoring the \u003ca href=\"https://pitchfork.com/features/lists-and-guides/best-songs-2024/\">song of the year\u003c/a>. Tickets go on sale this week, including an early onsale with a presale code. Here’s how to get them. \u003c/p>\n\u003cp>Presale tickets for Kendrick go on sale \u003ca href=\"https://www.ticketmaster.com/event/1C00617ABDC22B88\">Wednesday, Dec. 4, at 10 a.m. Pacific Time\u003c/a>, and because we live in a corporate dystopia, they’re only available to Cash App Visa cardholders. Ticketmaster, as usual, doesn’t provide details about what that means.\u003c/p>\n\u003cp>Here’s what to know.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>You can get a Cash App Visa card by opening the Cash App app and selecting the rectangular card icon at the bottom, second from the left. Select “Get Your Free Card.” Choose the free option, enter your street address, and — because we live in a \u003cem>surveillance\u003c/em> dystopia — enter your social security number. Scroll past a bunch of terms and conditions that nobody reads, hit “continue,” and you’re done. \u003c/p>\n\u003cp>Your physical card will show up in the mail later, but you can still use your card number to buy tickets. Select the card icon at the bottom of the app again, and your virtual card will be displayed. Tap the “eye” icon in the upper right of the card to show the full card number. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Then, about 10-15 minutes before 10 a.m. Pacific Time, go to \u003ca href=\"https://www.ticketmaster.com/event/1C00617ABDC22B88\">the San Francisco show ticket link\u003c/a> (you may be put in a “waiting room”) and enter the first nine digits of your Cash App Visa card. That is your presale code which will unlock the presale, and when you finally see a seat map and select the tickets you want, you’ll have to buy the tickets using your Cash App card number.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>You will also need to \u003ca href=\"https://cash.app/exclusives/kendrickandsza\">active your card and pre-load money into your Cash App balance\u003c/a> before this entire process; the card is not a conventional credit card, and works more like a debit card. How much money, you may wonder? Who knows, because we live in a \u003cem>consumerist\u003c/em> dystopia, and Ticketmaster refuses to advertise ticket prices before the onsale, while Cash App will be happy for you to anxiously pre-load $1,000 on their card and then forget about your remaining balance afterward. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>If you want to skip this labyrinthian nonsense and take your chances with the general public onsale, that happens on \u003ca href=\"https://www.ticketmaster.com/event/1C00617ABDC22B88\">Friday, Dec. 6, at 10 a.m. Pacific Time\u003c/a>. Oracle Park holds over 40,000 people. If you’re okay with sitting in the stands, you might be good. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The \u003ca href=\"https://www.kqed.org/news/tag/berkeley\">Berkeley\u003c/a> City Council is considering creating a new cultural district on the city’s west side, which — thanks to a recently passed state law — could also include affordable housing for artists.\u003c/p>\n\u003cp>“This is something I’ve been thinking about for a long time,” said City Council member Terry Taplin, who is also a poet. “The need for affordable housing is a big part of my vision for the city — you know, Berkeley being this place where people come to create opportunities in society that they want to see.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The council is scheduled to vote Tuesday night on whether to study the creation of a cultural district under \u003ca href=\"https://legiscan.com/CA/text/AB812/id/2825782\">AB 812\u003c/a>, which went into effect this year. The law allows cities to create state-approved cultural districts and designate 10% of any affordable housing in the area for artists.\u003c/p>\n\u003cp>It also comes eight years after the deadly Ghost Ship fire in Oakland, which killed 36 people. The unlawfully converted warehouse was home to many artists and shined a light on the lack of safe and affordable housing for artists in the Bay Area.\u003c/p>\n\u003cfigure id=\"attachment_12016381\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12016381\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/12/241202-BerkeleyArtistHousing-0273-DMB.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/12/241202-BerkeleyArtistHousing-0273-DMB.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/12/241202-BerkeleyArtistHousing-0273-DMB-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/12/241202-BerkeleyArtistHousing-0273-DMB-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/12/241202-BerkeleyArtistHousing-0273-DMB-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/12/241202-BerkeleyArtistHousing-0273-DMB-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/12/241202-BerkeleyArtistHousing-0273-DMB-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The 2000 block of Center Street in downtown Berkeley on Monday, Dec. 2, 2024. \u003ccite>(David M. Barreda/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kim Anno, a retiring member of the Berkeley Civic Arts Commission and notable painter, photographer and video artist, is part of the team of artists working with the City Council to create a cultural district. Some of her students died in the 2016 fire.\u003c/p>\n\u003cp>“It’s in my mind for the rest of my life, so creating a daylight for the need for housing is the first step,” she said. “The whole idea is to make a mutually beneficial ecosystem of the city so that the people who work here also live here.”\u003c/p>\n\u003cp>According to a \u003ca href=\"https://berkeleyca.gov/sites/default/files/legislative-body-meeting-attachments/1.19.2022%20Civic%20Arts%20Commission%20Agenda%20and%20Attachments.pdf#page=9\">2021 survey commissioned by the Berkeley Civic Arts Commission\u003c/a>, more than half of the artists who lived in the city earned $69,000 or less per year, which qualified them as “low income” in Alameda County. Less than a third of the 163 artists surveyed were employed full-time as artists, while others paid their expenses with the help of part-time or contract work.\u003c/p>\n\u003cfigure id=\"attachment_12016379\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12016379\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/12/241202-BerkeleyArtistHousing-0098-DMB.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/12/241202-BerkeleyArtistHousing-0098-DMB.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/12/241202-BerkeleyArtistHousing-0098-DMB-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/12/241202-BerkeleyArtistHousing-0098-DMB-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/12/241202-BerkeleyArtistHousing-0098-DMB-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/12/241202-BerkeleyArtistHousing-0098-DMB-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/12/241202-BerkeleyArtistHousing-0098-DMB-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The 2000 block of Addison Street in downtown Berkeley, on Monday, Dec. 2, 2024. \u003ccite>(David M. Barreda/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Tuesday’s City Council vote would only be a small step toward creating a cultural district. If the council decides to move forward, members of the Civic Arts Commission, local artists and residents will weigh in on any plans, and state officials will have to certify the district before any affordable housing could be offered.\u003c/p>\n\u003cp>[aside postID=arts_13957645 hero='https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/1687-Market-Street-1920x1920.png']\u003c/p>\n\u003cp>In the meantime, organizations like \u003ca href=\"https://www.vitalarts.org/\">Vital Arts\u003c/a>, founded to honor the victims of the Ghost Ship fire, offer displacement prevention grants for artists in Alameda County dealing with high rents or looming threats of eviction.\u003c/p>\n\u003cp>In Oakland, the Unity Council, a nonprofit community development organization, is pursuing plans to develop affordable housing on the site of the Ghost Ship warehouse.\u003c/p>\n\u003cp>The company purchased the property in 2023 and construction could start on the site as early as 2026, \u003ca href=\"https://maryalexanderlaw.com/victims-families-of-tragic-ghost-ship-warehouse-fire-welcome-new-affordable-housing-proposal-at-site/#:~:text=The%20proposed%2076%2C000%2Dsquare%2Dfoot,limited%20availability%20of%20affordable%20options.\">according to Mary Alexander & Associates,\u003c/a> a law firm that represented 13 victims of the fire.\u003c/p>\n\u003cp>Cameron Woo, a current member of Berkeley’s Civic Arts Commission, said there is a “certain amount of synergy” around the need for more affordable housing and the benefits of artists living within a city.\u003c/p>\n\u003cp>“There’s the economic benefit of the arts programs that contribute to the health and well-being of a community — not only financially but culturally as well,” he said. “We know this is not the magic wand, the solution to all the needs of this community, but it’s one step.”\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The council is scheduled to vote Tuesday night on whether to study the creation of a cultural district under \u003ca href=\"https://legiscan.com/CA/text/AB812/id/2825782\">AB 812\u003c/a>, which went into effect this year. The law allows cities to create state-approved cultural districts and designate 10% of any affordable housing in the area for artists.\u003c/p>\n\u003cp>It also comes eight years after the deadly Ghost Ship fire in Oakland, which killed 36 people. The unlawfully converted warehouse was home to many artists and shined a light on the lack of safe and affordable housing for artists in the Bay Area.\u003c/p>\n\u003cfigure id=\"attachment_12016381\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12016381\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/12/241202-BerkeleyArtistHousing-0273-DMB.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/12/241202-BerkeleyArtistHousing-0273-DMB.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/12/241202-BerkeleyArtistHousing-0273-DMB-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/12/241202-BerkeleyArtistHousing-0273-DMB-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/12/241202-BerkeleyArtistHousing-0273-DMB-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/12/241202-BerkeleyArtistHousing-0273-DMB-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/12/241202-BerkeleyArtistHousing-0273-DMB-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The 2000 block of Center Street in downtown Berkeley on Monday, Dec. 2, 2024. \u003ccite>(David M. Barreda/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kim Anno, a retiring member of the Berkeley Civic Arts Commission and notable painter, photographer and video artist, is part of the team of artists working with the City Council to create a cultural district. Some of her students died in the 2016 fire.\u003c/p>\n\u003cp>“It’s in my mind for the rest of my life, so creating a daylight for the need for housing is the first step,” she said. “The whole idea is to make a mutually beneficial ecosystem of the city so that the people who work here also live here.”\u003c/p>\n\u003cp>According to a \u003ca href=\"https://berkeleyca.gov/sites/default/files/legislative-body-meeting-attachments/1.19.2022%20Civic%20Arts%20Commission%20Agenda%20and%20Attachments.pdf#page=9\">2021 survey commissioned by the Berkeley Civic Arts Commission\u003c/a>, more than half of the artists who lived in the city earned $69,000 or less per year, which qualified them as “low income” in Alameda County. Less than a third of the 163 artists surveyed were employed full-time as artists, while others paid their expenses with the help of part-time or contract work.\u003c/p>\n\u003cfigure id=\"attachment_12016379\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12016379\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/12/241202-BerkeleyArtistHousing-0098-DMB.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/12/241202-BerkeleyArtistHousing-0098-DMB.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/12/241202-BerkeleyArtistHousing-0098-DMB-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/12/241202-BerkeleyArtistHousing-0098-DMB-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/12/241202-BerkeleyArtistHousing-0098-DMB-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/12/241202-BerkeleyArtistHousing-0098-DMB-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/12/241202-BerkeleyArtistHousing-0098-DMB-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The 2000 block of Addison Street in downtown Berkeley, on Monday, Dec. 2, 2024. \u003ccite>(David M. Barreda/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Tuesday’s City Council vote would only be a small step toward creating a cultural district. If the council decides to move forward, members of the Civic Arts Commission, local artists and residents will weigh in on any plans, and state officials will have to certify the district before any affordable housing could be offered.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In the meantime, organizations like \u003ca href=\"https://www.vitalarts.org/\">Vital Arts\u003c/a>, founded to honor the victims of the Ghost Ship fire, offer displacement prevention grants for artists in Alameda County dealing with high rents or looming threats of eviction.\u003c/p>\n\u003cp>In Oakland, the Unity Council, a nonprofit community development organization, is pursuing plans to develop affordable housing on the site of the Ghost Ship warehouse.\u003c/p>\n\u003cp>The company purchased the property in 2023 and construction could start on the site as early as 2026, \u003ca href=\"https://maryalexanderlaw.com/victims-families-of-tragic-ghost-ship-warehouse-fire-welcome-new-affordable-housing-proposal-at-site/#:~:text=The%20proposed%2076%2C000%2Dsquare%2Dfoot,limited%20availability%20of%20affordable%20options.\">according to Mary Alexander & Associates,\u003c/a> a law firm that represented 13 victims of the fire.\u003c/p>\n\u003cp>Cameron Woo, a current member of Berkeley’s Civic Arts Commission, said there is a “certain amount of synergy” around the need for more affordable housing and the benefits of artists living within a city.\u003c/p>\n\u003cp>“There’s the economic benefit of the arts programs that contribute to the health and well-being of a community — not only financially but culturally as well,” he said. “We know this is not the magic wand, the solution to all the needs of this community, but it’s one step.”\u003c/p>\n\u003cp>\u003c/p>\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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"slug": "all-the-nights-we-got-to-dance-is-a-tribute-to-queer-nightlife-in-sf",
"title": "‘All The Nights We Got to Dance’ is a Tribute to Queer Nightlife in SF",
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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=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist Marcel Pardo Ariza and their latest installation, ‘All The Nights We Got To Dance.’ \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13960341\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13960341 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/All-The-Nights-copy-800x583.jpg\" alt=\"On a yellow background, are illustrations of historic Queer and Trans bar signs including Gene Compton’s Cafeteria, Esta Noche, Amelia’s, The Pendulum and more. \" width=\"800\" height=\"583\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/All-The-Nights-copy-800x583.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/All-The-Nights-copy-1020x743.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/All-The-Nights-copy-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/All-The-Nights-copy-768x559.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/All-The-Nights-copy-1536x1119.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/All-The-Nights-copy-2048x1491.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/All-The-Nights-copy-1920x1398.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A mockup of the site specific installation ‘All The Nights We Got to Dance.’ \u003ccite>(courtesy of Marcel Pardo Ariza)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>All The Nights We Got To Dance\u003c/em> is a site-specific installation in the ground-floor window of The Line Hotel in San Francisco’s Transgender Cultural District. A sunset orange backdrop is covered in hand-painted wooden replicas of bar signs, such as The Lexington, Esta Noche and \u003ca href=\"https://www.glbthistory.org/primary-source-set-finocchios#:~:text=Finocchio's%20opened%20in%20the%20late,tourists%20and%20the%20queer%20community.\" target=\"_blank\" rel=\"noopener\">Finocchio’s\u003c/a> — a club credited as one of the earliest incubators of drag shows in the U.S.\u003c/p>\n\u003cp>[aside postID='arts_13936474']Born in Colombia and based in Oakland, Pardo Ariza worked closely with \u003ca href=\"https://www.glbthistory.org/\" target=\"_blank\" rel=\"noopener\">San Francisco’s GLBT Historical Society \u003c/a>for their latest project\u003ca href=\"https://www.glbthistory.org/\" target=\"_blank\" rel=\"noopener\">, \u003c/a>leveraging the center’s rich archives to inform their work.\u003c/p>\n\u003cp>This week on Rightnowish, we catch up with Pardo Ariza to take a look at their latest installation before heading over to the GLBT Historical Society’s \u003ca href=\"https://www.glbthistory.org/archives-about-visitor-info\">archives\u003c/a>. There, we meet up with Issac Fellman, the center’s managing reference archivist, who brings us files full of actual handbills, photos, flyers and ephemera from all the nights people danced.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC7628242492\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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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=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist Marcel Pardo Ariza and their latest installation, ‘All The Nights We Got To Dance.’ \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13960341\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13960341 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/All-The-Nights-copy-800x583.jpg\" alt=\"On a yellow background, are illustrations of historic Queer and Trans bar signs including Gene Compton’s Cafeteria, Esta Noche, Amelia’s, The Pendulum and more. \" width=\"800\" height=\"583\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/All-The-Nights-copy-800x583.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/All-The-Nights-copy-1020x743.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/All-The-Nights-copy-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/All-The-Nights-copy-768x559.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/All-The-Nights-copy-1536x1119.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/All-The-Nights-copy-2048x1491.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/All-The-Nights-copy-1920x1398.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A mockup of the site specific installation ‘All The Nights We Got to Dance.’ \u003ccite>(courtesy of Marcel Pardo Ariza)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>All The Nights We Got To Dance\u003c/em> is a site-specific installation in the ground-floor window of The Line Hotel in San Francisco’s Transgender Cultural District. A sunset orange backdrop is covered in hand-painted wooden replicas of bar signs, such as The Lexington, Esta Noche and \u003ca href=\"https://www.glbthistory.org/primary-source-set-finocchios#:~:text=Finocchio's%20opened%20in%20the%20late,tourists%20and%20the%20queer%20community.\" target=\"_blank\" rel=\"noopener\">Finocchio’s\u003c/a> — a club credited as one of the earliest incubators of drag shows in the U.S.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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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=\"(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": "political-art-2024-trump-presidency",
"title": "What’s the Use of ‘Political Art’ in 2024?",
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"content": "\u003cp>Who could forget the \u003ca href=\"https://www.glamour.com/story/the-story-behind-the-pussyhats-at-the-womens-march\">pussy hats\u003c/a>, the colorful \u003ca href=\"https://www.glamour.com/gallery/how-to-create-the-best-damn-anti-trump-protest-sign-ever-a-complete-guide\">protest banners\u003c/a>, the \u003ca href=\"https://www.kqed.org/pop/33376/so-theres-a-naked-donald-trump-statue-in-the-castro-now-nsfw\">nude statues\u003c/a> and \u003ca href=\"https://www.bbc.com/culture/article/20160518-what-does-the-trumpputin-kiss-really-mean\">subversive murals\u003c/a> of the first Trump administration?\u003c/p>\n\u003cp>Voters, apparently.\u003c/p>\n\u003cp>[aside postID='news_12014032']Despite a surge in art-as-resistance eight years ago — hailed as crucial in the fight to defeat Trump once and for all — America is back where it started in 2016, give or take a few \u003ca href=\"https://apnews.com/article/trump-charlottesville-college-protests-gaza-biden-antisemitism-b19a1ae593b076d5314f08549b1b0d7b\">racist marches\u003c/a>, \u003ca href=\"https://www.npr.org/2024/11/17/nx-s1-5192608/idahos-abortion-ban-one-of-the-strictest-in-the-u-s-is-being-challenged-in-court\">abortion bans\u003c/a> and \u003ca href=\"https://www.npr.org/2024/05/30/1198912466/in-a-historic-verdict-trump-found-guilty-on-34-felony-counts-in-hush-money-trial\">felony counts\u003c/a>.\u003c/p>\n\u003cp>And while the stakes for the future of the country are unquestionably higher this time around, artist reaction has been conspicuously subdued. Not only are activists organizing \u003ca href=\"https://www.kqed.org/news/12014032/dispirited-and-humbled-the-conspicuous-absence-of-bay-area-protests-after-trumps-win\">far fewer protests\u003c/a>, there’s noticeably less anti-Trump art. Yes, even in the Bay Area.\u003c/p>\n\u003cp>How could that be? Well, it depends on who you ask.\u003c/p>\n\u003cfigure id=\"attachment_13968235\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968235\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BrentLindsay.Imaginists.jpg\" alt=\"A man in a black hoodie and tan pants stands among a cluttered studio space, looking up at the camera.\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BrentLindsay.Imaginists.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BrentLindsay.Imaginists-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BrentLindsay.Imaginists-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BrentLindsay.Imaginists-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BrentLindsay.Imaginists-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BrentLindsay.Imaginists-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BrentLindsay.Imaginists-1920x1440.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Brent Lindsay, Artistic Director for the Imaginists Theatre Collective in Santa Rosa, pictured backstage on Nov. 18, 2024. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It feels to me like everyone just got wiped out,” said Brent Lindsay, artistic director of the Imaginists Theatre Collective in Santa Rosa, of the relative quiet from artists, post-election. “Everyone’s just — I don’t know about \u003ci>retreating\u003c/i>, but everyone’s sort of going deep. Having to. And I don’t know what’s on the other side of that.”\u003c/p>\n\u003ch2>A time of reorientation\u003c/h2>\n\u003cp>Lindsay is no stranger to explicitly political art. In 2017, the Imaginists presented \u003ci>Stop That Show!\u003c/i>, a \u003ca href=\"https://theimaginists.org/aimsarchive\">bicycle-powered, bilingual outdoor satire\u003c/a> squarely aimed at the Trump White House. Lindsay played “President Corn,” in a disheveled blonde wig and Russian-branded garb.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It was good in that we all needed to find joy in some darkness, and we all needed to find a way out, shake it off, be entertained,” Lindsay said, acknowledging that the show was more a balm than a weapon of resistance.\u003c/p>\n\u003cp>No one can predict exactly what the next four years will bring from the arts sector. But Lindsay believes that alongside explicitly political art, the world may see more politically informed work based in storytelling and emotional resonance.\u003c/p>\n\u003cp>“You need both,” Lindsay said. “We need the bombastic, the in-your-face, the revolutionary. And this may be a silly analogy, but we need the bunny slope. Because we need new people coming and trying it, and working their way up.”\u003c/p>\n\u003cfigure id=\"attachment_13887378\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13887378\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/WKamauBell.MAIN_.JohnNowackCNN.jpg\" alt=\"W. Kamau Bell\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/WKamauBell.MAIN_.JohnNowackCNN.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/WKamauBell.MAIN_.JohnNowackCNN-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/WKamauBell.MAIN_.JohnNowackCNN-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/WKamauBell.MAIN_.JohnNowackCNN-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/WKamauBell.MAIN_.JohnNowackCNN-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/WKamauBell.MAIN_.JohnNowackCNN-1536x864.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">W. Kamau Bell in 2020. \u003ccite>(John Nowack/CNN)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At \u003ca href=\"https://oaklandside.org/culture-makers/\">Oaklandside’s Culture Makers\u003c/a> panel on Nov. 14, comedian W. Kamau Bell, who endorsed Kamala Harris, was optimistic about the next era of direct political art.\u003c/p>\n\u003cp>“There’s going to be a type of artist now who’s going to be much more clear than they were in the past,” Bell said. “It’s an invitation to be much more clear on what the message is, what your goals are, to have art that actually points towards the change. I think it’s going to be a wave of really classic-era, political [art] — the right side of propaganda, pointing to the right side of history.”\u003c/p>\n\u003cp>Bell’s friend and colleague Favianna Rodriguez is the founder of the \u003ca href=\"https://www.culturalpower.org/\">Center for Cultural Power\u003c/a>, an organization that supports artists and arms people with artistic tools for resistance. In 2017, in opposition to Trump’s Muslim ban, Rodriguez’s series \u003ci>\u003ca href=\"https://favianna.com/artworks/migration-is-beautiful-2018?\">Migration Is Beautiful\u003c/a>\u003c/i> surged in visibility. Climate justice and reproductive rights have also been prominent themes in her work.\u003c/p>\n\u003cp>“I have seen both a moment of reflection, and a moment of reorientation,” Rodriguez said of the weeks following the election. “Our response as artists is going to take some time for us to get organized. But I do trust that artists are going to rise up and create work, and be angry and bold.”\u003c/p>\n\u003cfigure id=\"attachment_13881312\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13881312\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/ClimateWoke2019_brookeanderson-42.jpg\" alt=\"Woman in red outfit with microphone\" width=\"1920\" height=\"1282\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/ClimateWoke2019_brookeanderson-42.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/ClimateWoke2019_brookeanderson-42-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/ClimateWoke2019_brookeanderson-42-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/ClimateWoke2019_brookeanderson-42-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/ClimateWoke2019_brookeanderson-42-1020x681.jpg 1020w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Favianna Rodriguez speaking in 2020. \u003ccite>(Brooke Anderson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Artists, Rodriguez asserts, have the power to change cultural narratives, which in turn shape political narratives.\u003c/p>\n\u003cp>“We can show the humanity,” she says. “We can help normalize things that were once seen as rare. We can help tell human stories that move people’s hearts.”\u003c/p>\n\u003ch2>‘Not just an attack against Trump’\u003c/h2>\n\u003cp>Pianist, hip-hop artist and member of Oakland’s Cultural Affairs Commission Kev Choice says he’s angry and disappointed about Trump winning the presidency. He’s also contending with how many in his community — people who care about social justice and want an end to U.S. military aid to Israel — disengaged from the election.\u003c/p>\n\u003cp>[aside postID='arts_13967557']He sees a disillusionment with the Democratic party’s role in the devastation in Gaza, as well as with the two-party system. Choice was just as disappointed with Trump’s victory as he was with progressive propositions, like rent control, failing in California.\u003c/p>\n\u003cp>“I’ve been sitting with how to address it on all fronts, not just an attack against Trump, but just our general engagement in politics and how we can be more impactful — and have just honest conversations about what it means to even be engaged,” he says.\u003c/p>\n\u003cfigure id=\"attachment_13964204\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13964204\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240912-KEVCHOICE-22-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240912-KEVCHOICE-22-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240912-KEVCHOICE-22-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240912-KEVCHOICE-22-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240912-KEVCHOICE-22-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240912-KEVCHOICE-22-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240912-KEVCHOICE-22-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240912-KEVCHOICE-22-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Kev Choice plays the piano at his studio in Oakland on Sept. 12, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Choice says he’s working on a song that airs out his community’s disappointment and grief over the election results, but he’s also looking beyond music. “Music is one thing, but supporting grassroots organizations to get people to register to vote, who will get people to campaign for certain measures or props — the day to day things that it takes to win a campaign,” he says. “It’s not always the flashy notoriety, like being on TV or releasing a song. It’s phone banking, canvassing, calling, traveling to other areas — and also bringing up those issues constantly in the art that we create.”\u003c/p>\n\u003cp>Filmmaker Josh Healey has advocated for a permanent ceasefire in Gaza with his podcast, \u003ca href=\"https://www.offsidesproductions.org/portfolio/friday-night-semites/\">Friday Night Semites\u003c/a>, and organizing with Jewish Voice for Peace and beyond. His work, including the comedy series \u003ci>The North Pole\u003c/i>, has also addressed class issues such as gentrification.\u003c/p>\n\u003cp>“I think the next couple of years we are going to see — and some of the people in this room are going to make — some of the dopest and most powerful art we’ve seen,” Healey said at Oaklandside’s Culture Makers panel.\u003c/p>\n\u003cfigure id=\"attachment_13808051\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13808051\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ErickaJosh.jpg\" alt=\"woman and man pose with polar bear\" width=\"2048\" height=\"1367\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ErickaJosh.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ErickaJosh-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ErickaJosh-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ErickaJosh-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ErickaJosh-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ErickaJosh-1920x1282.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ErickaJosh-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ErickaJosh-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ErickaJosh-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ErickaJosh-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ErickaJosh-520x347.jpg 520w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Ericka Huggins and producer Josh Healy at the premiere for ‘The North Pole’ at the Grand Lake Theater in Oakland, Sept. 7, 2017. \u003ccite>(Brooke Anderson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Where I’m at as a filmmaker is not just ‘fuck Trump’ and whatever local billionaires are running these campaigns,” he continued, “but also, Hollywood is done. And I’m ready to actually celebrate that. And what I mean by that is not the death of filmmaking, but the death of capitalist, consumerist — the normalization. So many of the stories of what is normalized comes from arts and culture. And so that is my responsibility, and our responsibility.”\u003c/p>\n\u003ch2>Artists shifting to the right\u003c/h2>\n\u003cp>Supporting Trump was more taboo among artists during his first administration, but with rappers like Kanye West, Sexyy Red, Kodak Black and Azealia Banks backing Trump, some observers see a rightward turn in the entertainment industry.\u003c/p>\n\u003cfigure id=\"attachment_13968405\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968405\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/maddy-clifford.jpg\" alt=\"\" width=\"1000\" height=\"667\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/maddy-clifford.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/maddy-clifford-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/maddy-clifford-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/maddy-clifford-768x512.jpg 768w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">Hip-hop artist, writer and TikTok creator Maddy Clifford organizes for student debt abolition with Debt Collective. \u003ccite>(Courtesy Vanessa 'AGANA' Espinoza)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the Culture Makers panel, hip-hop artist and organizer Maddy Clifford, who campaigns for student debt abolition with Debt Collective, talked about this shift.\u003c/p>\n\u003cp>“I think a lot of the country will go to the right, let’s be honest about that,” said Clifford, who has contributed to KQED as a cultural critic. “And so it’s going to be more important than ever for us to be really righteous and really stand in our solid values, because there’s going to be a lot of pressure to basically sell out, straight up.” [aside postID='arts_13930867']\u003c/p>\n\u003cp>Clifford looked beyond Trump’s candidacy — which made gains with young men — and pointed towards conservative trends in culture, name-checking social media movements that promote conservative gender roles and normalize misogyny. “People are like, ‘How did this happen?’” she said. “Well, what about trad wife content? What about the manosphere? This has been happening for a long time.”\u003c/p>\n\u003ch2>Déjà vu\u003c/h2>\n\u003cp>”We’ve been here before,” says \u003ca href=\"https://www.angelahennessy.com/\">Angela Hennessy\u003c/a>, an Oakland visual artist and California College of the Arts professor. Hennessy, whose work will be shown at the San Francisco Museum of Modern Art in the \u003ca href=\"https://www.kqed.org/arts/13955864/sfmoma-2024-seca-art-award-announcement\">2024 SECA Art Award Exhibition\u003c/a>, says this is déjà vu.\u003c/p>\n\u003cp>She’s more surprised that people are surprised. “This \u003ci>is\u003c/i> America,” Hennessy wrote in an email to KQED.\u003c/p>\n\u003cfigure id=\"attachment_13812676\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13812676\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RZO4135_1200.jpg\" alt=\"Angela Hennessy, 'Black Rainbow,' 2017.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RZO4135_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RZO4135_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RZO4135_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RZO4135_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RZO4135_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RZO4135_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RZO4135_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RZO4135_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RZO4135_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RZO4135_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Angela Hennessy, ‘Black Rainbow,’ 2017. \u003ccite>(Courtesy of the artist and Southern Exposure; photo by Raheleh (Minoosh) Zomorodinia)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[aside postID='arts_13955864']Hennessy, a survivor of gun violence, uses hair weaving and braiding in her artwork as she navigates the connections between loss and liberation, death and despair, grieving and growing. She says that given her subject matter, her art is always political. And in this moment, Hennessy wrote, “My work can be seen as responding to the death machine that is our country.”\u003c/p>\n\u003cp>Hennessy asks people to read beyond the \u003ca href=\"https://www.thenation.com/article/archive/no-place-self-pity-no-room-fear/\">popular Toni Morrison quote\u003c/a>, “This is precisely the time when artists go to work,” and see that the late author was making the connection between chaos and the potential of art as a kind of wisdom.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>In this moment, “the opportunity,” Hennessy wrote, “is to be more brave, more unapologetic and articulate in knowing what we know. To make art, music, poetry, etc. as if something was at stake.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Who could forget the \u003ca href=\"https://www.glamour.com/story/the-story-behind-the-pussyhats-at-the-womens-march\">pussy hats\u003c/a>, the colorful \u003ca href=\"https://www.glamour.com/gallery/how-to-create-the-best-damn-anti-trump-protest-sign-ever-a-complete-guide\">protest banners\u003c/a>, the \u003ca href=\"https://www.kqed.org/pop/33376/so-theres-a-naked-donald-trump-statue-in-the-castro-now-nsfw\">nude statues\u003c/a> and \u003ca href=\"https://www.bbc.com/culture/article/20160518-what-does-the-trumpputin-kiss-really-mean\">subversive murals\u003c/a> of the first Trump administration?\u003c/p>\n\u003cp>Voters, apparently.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Despite a surge in art-as-resistance eight years ago — hailed as crucial in the fight to defeat Trump once and for all — America is back where it started in 2016, give or take a few \u003ca href=\"https://apnews.com/article/trump-charlottesville-college-protests-gaza-biden-antisemitism-b19a1ae593b076d5314f08549b1b0d7b\">racist marches\u003c/a>, \u003ca href=\"https://www.npr.org/2024/11/17/nx-s1-5192608/idahos-abortion-ban-one-of-the-strictest-in-the-u-s-is-being-challenged-in-court\">abortion bans\u003c/a> and \u003ca href=\"https://www.npr.org/2024/05/30/1198912466/in-a-historic-verdict-trump-found-guilty-on-34-felony-counts-in-hush-money-trial\">felony counts\u003c/a>.\u003c/p>\n\u003cp>And while the stakes for the future of the country are unquestionably higher this time around, artist reaction has been conspicuously subdued. Not only are activists organizing \u003ca href=\"https://www.kqed.org/news/12014032/dispirited-and-humbled-the-conspicuous-absence-of-bay-area-protests-after-trumps-win\">far fewer protests\u003c/a>, there’s noticeably less anti-Trump art. Yes, even in the Bay Area.\u003c/p>\n\u003cp>How could that be? Well, it depends on who you ask.\u003c/p>\n\u003cfigure id=\"attachment_13968235\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968235\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BrentLindsay.Imaginists.jpg\" alt=\"A man in a black hoodie and tan pants stands among a cluttered studio space, looking up at the camera.\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BrentLindsay.Imaginists.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BrentLindsay.Imaginists-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BrentLindsay.Imaginists-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BrentLindsay.Imaginists-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BrentLindsay.Imaginists-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BrentLindsay.Imaginists-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BrentLindsay.Imaginists-1920x1440.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Brent Lindsay, Artistic Director for the Imaginists Theatre Collective in Santa Rosa, pictured backstage on Nov. 18, 2024. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It feels to me like everyone just got wiped out,” said Brent Lindsay, artistic director of the Imaginists Theatre Collective in Santa Rosa, of the relative quiet from artists, post-election. “Everyone’s just — I don’t know about \u003ci>retreating\u003c/i>, but everyone’s sort of going deep. Having to. And I don’t know what’s on the other side of that.”\u003c/p>\n\u003ch2>A time of reorientation\u003c/h2>\n\u003cp>Lindsay is no stranger to explicitly political art. In 2017, the Imaginists presented \u003ci>Stop That Show!\u003c/i>, a \u003ca href=\"https://theimaginists.org/aimsarchive\">bicycle-powered, bilingual outdoor satire\u003c/a> squarely aimed at the Trump White House. Lindsay played “President Corn,” in a disheveled blonde wig and Russian-branded garb.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It was good in that we all needed to find joy in some darkness, and we all needed to find a way out, shake it off, be entertained,” Lindsay said, acknowledging that the show was more a balm than a weapon of resistance.\u003c/p>\n\u003cp>No one can predict exactly what the next four years will bring from the arts sector. But Lindsay believes that alongside explicitly political art, the world may see more politically informed work based in storytelling and emotional resonance.\u003c/p>\n\u003cp>“You need both,” Lindsay said. “We need the bombastic, the in-your-face, the revolutionary. And this may be a silly analogy, but we need the bunny slope. Because we need new people coming and trying it, and working their way up.”\u003c/p>\n\u003cfigure id=\"attachment_13887378\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13887378\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/WKamauBell.MAIN_.JohnNowackCNN.jpg\" alt=\"W. Kamau Bell\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/WKamauBell.MAIN_.JohnNowackCNN.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/WKamauBell.MAIN_.JohnNowackCNN-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/WKamauBell.MAIN_.JohnNowackCNN-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/WKamauBell.MAIN_.JohnNowackCNN-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/WKamauBell.MAIN_.JohnNowackCNN-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/WKamauBell.MAIN_.JohnNowackCNN-1536x864.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">W. Kamau Bell in 2020. \u003ccite>(John Nowack/CNN)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At \u003ca href=\"https://oaklandside.org/culture-makers/\">Oaklandside’s Culture Makers\u003c/a> panel on Nov. 14, comedian W. Kamau Bell, who endorsed Kamala Harris, was optimistic about the next era of direct political art.\u003c/p>\n\u003cp>“There’s going to be a type of artist now who’s going to be much more clear than they were in the past,” Bell said. “It’s an invitation to be much more clear on what the message is, what your goals are, to have art that actually points towards the change. I think it’s going to be a wave of really classic-era, political [art] — the right side of propaganda, pointing to the right side of history.”\u003c/p>\n\u003cp>Bell’s friend and colleague Favianna Rodriguez is the founder of the \u003ca href=\"https://www.culturalpower.org/\">Center for Cultural Power\u003c/a>, an organization that supports artists and arms people with artistic tools for resistance. In 2017, in opposition to Trump’s Muslim ban, Rodriguez’s series \u003ci>\u003ca href=\"https://favianna.com/artworks/migration-is-beautiful-2018?\">Migration Is Beautiful\u003c/a>\u003c/i> surged in visibility. Climate justice and reproductive rights have also been prominent themes in her work.\u003c/p>\n\u003cp>“I have seen both a moment of reflection, and a moment of reorientation,” Rodriguez said of the weeks following the election. “Our response as artists is going to take some time for us to get organized. But I do trust that artists are going to rise up and create work, and be angry and bold.”\u003c/p>\n\u003cfigure id=\"attachment_13881312\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13881312\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/ClimateWoke2019_brookeanderson-42.jpg\" alt=\"Woman in red outfit with microphone\" width=\"1920\" height=\"1282\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/ClimateWoke2019_brookeanderson-42.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/ClimateWoke2019_brookeanderson-42-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/ClimateWoke2019_brookeanderson-42-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/ClimateWoke2019_brookeanderson-42-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/ClimateWoke2019_brookeanderson-42-1020x681.jpg 1020w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Favianna Rodriguez speaking in 2020. \u003ccite>(Brooke Anderson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Artists, Rodriguez asserts, have the power to change cultural narratives, which in turn shape political narratives.\u003c/p>\n\u003cp>“We can show the humanity,” she says. “We can help normalize things that were once seen as rare. We can help tell human stories that move people’s hearts.”\u003c/p>\n\u003ch2>‘Not just an attack against Trump’\u003c/h2>\n\u003cp>Pianist, hip-hop artist and member of Oakland’s Cultural Affairs Commission Kev Choice says he’s angry and disappointed about Trump winning the presidency. He’s also contending with how many in his community — people who care about social justice and want an end to U.S. military aid to Israel — disengaged from the election.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>He sees a disillusionment with the Democratic party’s role in the devastation in Gaza, as well as with the two-party system. Choice was just as disappointed with Trump’s victory as he was with progressive propositions, like rent control, failing in California.\u003c/p>\n\u003cp>“I’ve been sitting with how to address it on all fronts, not just an attack against Trump, but just our general engagement in politics and how we can be more impactful — and have just honest conversations about what it means to even be engaged,” he says.\u003c/p>\n\u003cfigure id=\"attachment_13964204\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13964204\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240912-KEVCHOICE-22-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240912-KEVCHOICE-22-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240912-KEVCHOICE-22-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240912-KEVCHOICE-22-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240912-KEVCHOICE-22-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240912-KEVCHOICE-22-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240912-KEVCHOICE-22-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240912-KEVCHOICE-22-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Kev Choice plays the piano at his studio in Oakland on Sept. 12, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Choice says he’s working on a song that airs out his community’s disappointment and grief over the election results, but he’s also looking beyond music. “Music is one thing, but supporting grassroots organizations to get people to register to vote, who will get people to campaign for certain measures or props — the day to day things that it takes to win a campaign,” he says. “It’s not always the flashy notoriety, like being on TV or releasing a song. It’s phone banking, canvassing, calling, traveling to other areas — and also bringing up those issues constantly in the art that we create.”\u003c/p>\n\u003cp>Filmmaker Josh Healey has advocated for a permanent ceasefire in Gaza with his podcast, \u003ca href=\"https://www.offsidesproductions.org/portfolio/friday-night-semites/\">Friday Night Semites\u003c/a>, and organizing with Jewish Voice for Peace and beyond. His work, including the comedy series \u003ci>The North Pole\u003c/i>, has also addressed class issues such as gentrification.\u003c/p>\n\u003cp>“I think the next couple of years we are going to see — and some of the people in this room are going to make — some of the dopest and most powerful art we’ve seen,” Healey said at Oaklandside’s Culture Makers panel.\u003c/p>\n\u003cfigure id=\"attachment_13808051\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13808051\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ErickaJosh.jpg\" alt=\"woman and man pose with polar bear\" width=\"2048\" height=\"1367\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ErickaJosh.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ErickaJosh-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ErickaJosh-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ErickaJosh-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ErickaJosh-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ErickaJosh-1920x1282.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ErickaJosh-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ErickaJosh-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ErickaJosh-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ErickaJosh-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ErickaJosh-520x347.jpg 520w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Ericka Huggins and producer Josh Healy at the premiere for ‘The North Pole’ at the Grand Lake Theater in Oakland, Sept. 7, 2017. \u003ccite>(Brooke Anderson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Where I’m at as a filmmaker is not just ‘fuck Trump’ and whatever local billionaires are running these campaigns,” he continued, “but also, Hollywood is done. And I’m ready to actually celebrate that. And what I mean by that is not the death of filmmaking, but the death of capitalist, consumerist — the normalization. So many of the stories of what is normalized comes from arts and culture. And so that is my responsibility, and our responsibility.”\u003c/p>\n\u003ch2>Artists shifting to the right\u003c/h2>\n\u003cp>Supporting Trump was more taboo among artists during his first administration, but with rappers like Kanye West, Sexyy Red, Kodak Black and Azealia Banks backing Trump, some observers see a rightward turn in the entertainment industry.\u003c/p>\n\u003cfigure id=\"attachment_13968405\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968405\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/maddy-clifford.jpg\" alt=\"\" width=\"1000\" height=\"667\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/maddy-clifford.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/maddy-clifford-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/maddy-clifford-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/maddy-clifford-768x512.jpg 768w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">Hip-hop artist, writer and TikTok creator Maddy Clifford organizes for student debt abolition with Debt Collective. \u003ccite>(Courtesy Vanessa 'AGANA' Espinoza)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the Culture Makers panel, hip-hop artist and organizer Maddy Clifford, who campaigns for student debt abolition with Debt Collective, talked about this shift.\u003c/p>\n\u003cp>“I think a lot of the country will go to the right, let’s be honest about that,” said Clifford, who has contributed to KQED as a cultural critic. “And so it’s going to be more important than ever for us to be really righteous and really stand in our solid values, because there’s going to be a lot of pressure to basically sell out, straight up.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Clifford looked beyond Trump’s candidacy — which made gains with young men — and pointed towards conservative trends in culture, name-checking social media movements that promote conservative gender roles and normalize misogyny. “People are like, ‘How did this happen?’” she said. “Well, what about trad wife content? What about the manosphere? This has been happening for a long time.”\u003c/p>\n\u003ch2>Déjà vu\u003c/h2>\n\u003cp>”We’ve been here before,” says \u003ca href=\"https://www.angelahennessy.com/\">Angela Hennessy\u003c/a>, an Oakland visual artist and California College of the Arts professor. Hennessy, whose work will be shown at the San Francisco Museum of Modern Art in the \u003ca href=\"https://www.kqed.org/arts/13955864/sfmoma-2024-seca-art-award-announcement\">2024 SECA Art Award Exhibition\u003c/a>, says this is déjà vu.\u003c/p>\n\u003cp>She’s more surprised that people are surprised. “This \u003ci>is\u003c/i> America,” Hennessy wrote in an email to KQED.\u003c/p>\n\u003cfigure id=\"attachment_13812676\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13812676\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RZO4135_1200.jpg\" alt=\"Angela Hennessy, 'Black Rainbow,' 2017.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RZO4135_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RZO4135_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RZO4135_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RZO4135_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RZO4135_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RZO4135_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RZO4135_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RZO4135_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RZO4135_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RZO4135_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Angela Hennessy, ‘Black Rainbow,’ 2017. \u003ccite>(Courtesy of the artist and Southern Exposure; photo by Raheleh (Minoosh) Zomorodinia)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Hennessy, a survivor of gun violence, uses hair weaving and braiding in her artwork as she navigates the connections between loss and liberation, death and despair, grieving and growing. She says that given her subject matter, her art is always political. And in this moment, Hennessy wrote, “My work can be seen as responding to the death machine that is our country.”\u003c/p>\n\u003cp>Hennessy asks people to read beyond the \u003ca href=\"https://www.thenation.com/article/archive/no-place-self-pity-no-room-fear/\">popular Toni Morrison quote\u003c/a>, “This is precisely the time when artists go to work,” and see that the late author was making the connection between chaos and the potential of art as a kind of wisdom.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In this moment, “the opportunity,” Hennessy wrote, “is to be more brave, more unapologetic and articulate in knowing what we know. To make art, music, poetry, etc. as if something was at stake.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "richie-rich-oakland-rap-larussell-second-act",
"title": "‘Never Underestimate the OG’: Richie Rich's Second Act",
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"content": "\u003cp>[dropcap]O[/dropcap]n a Sunday afternoon in mid-November, \u003ca href=\"https://www.instagram.com/larussell/?hl=en\" target=\"_blank\" rel=\"noopener\">LaRussell\u003c/a> is onstage at The New Parish in Oakland, energetically hurling rhyme pyrotechnics, just days after the premiere of \u003ca href=\"https://www.youtube.com/watch?v=w40XbPyotj8\" target=\"_blank\" rel=\"noopener\">his NPR \u003cem>Tiny Desk\u003c/em> concert\u003c/a>.\u003c/p>\n\u003cp>Known for his clever lyrics, charismatic personality and nonstop production, LaRussell has \u003ca href=\"https://www.kqed.org/arts/13937331/larussell-vallejo-def-jam-record-deal\">refused to sign with a major label\u003c/a>. He hosts sold-out shows at a small venue, The Pergola, built in his backyard. Staunchly independent, he’s paved his own lane in the rap game by investing in himself, his community and his culture.\u003c/p>\n\u003cp>His latest investment: the reintroduction of \u003ca href=\"https://www.instagram.com/tharealrichierich/\" target=\"_blank\" rel=\"noopener\">Richie Rich\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13968024\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968024\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/LaRussell-x-Richie-Rich-New-Parish-Richie-Rich-111024-66-scaled.jpeg\" alt='While on stage with rising Vallejo rap star LaRussell at the New Parish in Oakland, veteran rapper Richie Rich tells the crowd that \"Double R\" now stands for LaRussell and Rich.' width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/LaRussell-x-Richie-Rich-New-Parish-Richie-Rich-111024-66-scaled.jpeg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/LaRussell-x-Richie-Rich-New-Parish-Richie-Rich-111024-66-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/LaRussell-x-Richie-Rich-New-Parish-Richie-Rich-111024-66-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/LaRussell-x-Richie-Rich-New-Parish-Richie-Rich-111024-66-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/LaRussell-x-Richie-Rich-New-Parish-Richie-Rich-111024-66-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/LaRussell-x-Richie-Rich-New-Parish-Richie-Rich-111024-66-1536x1024.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/LaRussell-x-Richie-Rich-New-Parish-Richie-Rich-111024-66-2048x1365.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/LaRussell-x-Richie-Rich-New-Parish-Richie-Rich-111024-66-1920x1280.jpeg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">At the New Parish in Oakland on Nov. 10, 2024, veteran rapper Richie Rich tells the crowd that “Double R” now stands for LaRussell and Rich. \u003ccite>(Jason Hayes / \u003ca href=\"https://www.instagram.com/j.castae/?hl=en\" target=\"_blank\">J.Castae\u003c/a>)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Minutes into Sunday’s show, after LaRussell warms up the crowd with violinist \u003ca href=\"https://www.instagram.com/michaelprinceviolin/?hl=en\" target=\"_blank\" rel=\"noopener\">Michael Prince\u003c/a> and vocalist \u003ca href=\"https://www.instagram.com/shante_music/\" target=\"_blank\" rel=\"noopener\">Shanté\u003c/a>, Rich walks out on stage.\u003c/p>\n\u003cp>Richie Rich’s pedigree is \u003cem>deep\u003c/em>. He’s a former Def Jam signee who influenced Snoop Dogg and was friends with Tupac. He had songs on \u003ca href=\"https://www.youtube.com/watch?v=YC_RQEby1JQ\" target=\"_blank\" rel=\"noopener\">\u003cem>The Nutty Professor\u003c/em>\u003c/a> and \u003ca href=\"https://open.spotify.com/track/3EcVo3nMBveyqGi7MzTZdM\" target=\"_blank\" rel=\"noopener\">\u003cem>How To Be A Player\u003c/em>\u003c/a> soundtracks. His 1996 album \u003cem>Seasoned Veteran\u003c/em> spawned two singles on the Billboard Top 100. And his verse on \u003ca href=\"http://www.kqed.org/bayareahiphop/timeline#i-got-5-on-it-remix-a-meeting-of-greats-recorded-in-alameda\">the remix to the Luniz’ anthem “I Got 5 On It”\u003c/a> provided the Town with the classic line: “Where you from? Oakland. Smokin’.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Fittingly, at the New Parish, the artist who founded the pioneering rap group 415 enters to the beat of one of his group’s best-known songs, 1990’s “\u003ca href=\"https://www.youtube.com/watch?v=UsOeXoZoYPo\" target=\"_blank\" rel=\"noopener\">Side Show\u003c/a>.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=SQGqYHg-uyI\u003c/p>\n\u003cp>Over a stripped-down instrumental on live keyboard, Rich raps bar-for-bar in his raspy, laid-back flow, crisp and clear, without any background vocals. When the chorus hits, LaRussell steps in and remixes it, pulling from \u003ca href=\"https://www.youtube.com/watch?v=h4d7UwaNrIQ\" target=\"_blank\" rel=\"noopener\">the 2006 remake, “The Sideshow,”\u003c/a> by the late Traxamillion, Too Short and Mistah FAB.\u003c/p>\n\u003cp>It becomes clear: this isn’t just a guest appearance of Richie Rich at a LaRussell show. No, this is two emcees, with an age gap of over 20 years, trading bars, innovating on stage and moving the crowd.\u003c/p>\n\u003cp>As the audience recites the lyrics, the energy builds. LaRussell and \u003ca href=\"https://www.instagram.com/splashthakidd/\" target=\"_blank\" rel=\"noopener\">Splash Tha Kidd\u003c/a> are on stage giggin’, jumping as they dance. After the second verse, the crowd is turned up.\u003c/p>\n\u003cp>Richie Rich, grounded, laughs and calmly says, “Na… that’s how you got me last time.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=s3TM5WSCvZs\u003c/p>\n\u003cp>[dropcap]F[/dropcap]our months prior in LaRussell’s backyard, onstage at the Pergola, the energy got the best of Rich.\u003c/p>\n\u003cp>During a performance of the song “What We Doin!?” which features Richie Rich alongside LaRussell and \u003ca href=\"https://www.instagram.com/mal4chii/\" target=\"_blank\" rel=\"noopener\">an 18 year-old MC named MALACHI,\u003c/a> Rich was in go mode. The P-Lo–produced track, full of high energy, is the type of song that makes one jump on stage — even if they know damn well they shouldn’t.\u003c/p>\n\u003cp>Under the scorching August sun, Rich was a few bars into his verse when the 56-year-old rapper, bouncing alongside the crowd, turned to his left. Suddenly, his knee popped. Falling to the ground, he kept rapping without missing a beat, freestyling new lyrics to communicate what’d just happened to his leg — “blew my knee actin’ out my age” — and even diagnosing it as a torn lower patella.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=YGqKGhZkuug\u003c/p>\n\u003cp>All of this could’ve easily become a huge setback. Instead, in a world where the elements of hip-hop have expanded to include viral moments and social media influence, the widely viewed footage of Richie Rich kicking culture while sustaining a painful injury only helped reestablish his footprint in the rap game.\u003c/p>\n\u003cp>I recently caught up with Rich for a long conversation at his home in the East Bay, his leg in a brace as he sat across from me. Rich is a mild-mannered person who was raised by well-to-do parents, but despite his upbringing — and lifelong issues with his knees — he ran the streets.\u003c/p>\n\u003cfigure id=\"attachment_13968025\" class=\"wp-caption aligncenter\" style=\"max-width: 1180px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968025\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6004-e1731530175543.jpg\" alt=\"With a scar on one knee and the other in a brace, you can tell that Richie Rich has had some conversations with his knees-- and they've done most of the talking.\" width=\"1180\" height=\"1554\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6004-e1731530175543.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6004-e1731530175543-800x1054.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6004-e1731530175543-1020x1343.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6004-e1731530175543-160x211.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6004-e1731530175543-768x1011.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6004-e1731530175543-1166x1536.jpg 1166w\" sizes=\"(max-width: 1180px) 100vw, 1180px\">\u003cfigcaption class=\"wp-caption-text\">With a scar on one knee and the other in a brace, it’s clear Richie Rich has had some conversations with his knees — and they’ve done most of the talking. \u003ccite>(Courtesy of Richie Rich)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I’m from up the hill, I’m not even from the flats,” says Rich, explaining his childhood and the topography of Deep East Oakland in one statement. “I went down the hill, and that shit changed me, bro,” he says.\u003c/p>\n\u003cp>“Them spokes that you see on that car out here?” Rich says, pointing to the gold rims of his cognac-colored 1972 Cutlass Oldsmobile. He first saw them, he explains, on a Falcon when he was 12. Little Rich ran to tell the driver how clean they were, but the light turned green and the driver pulled off. A few weeks later, Rich caught the driver at a red light and properly complemented him. The driver thanked him, and suggested he could one day have a car like that, too, before tapping the gas pedal and leaving tire treads in the intersection.\u003c/p>\n\u003cp>“If I live to be 90,” says Rich, fully committed to his cars, “I’ma have some gold ones and Vogues, you better know.”\u003c/p>\n\u003cfigure id=\"attachment_13968026\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968026\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6682-scaled.jpg\" alt=\"Rapper Richie Rich poses in a Raiders Bo Jackson jersey, while standing in front of his Cutlass Oldsmobile.\" width=\"2560\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6682-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6682-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6682-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6682-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6682-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6682-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6682-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6682-1920x1440.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">In a Raiders Bo Jackson jersey, Richie Rich poses with his 1972 Oldsmobile Cutlass Supreme. \u003ccite>(Courtesy of Richie Rich)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Rich’s street life and hillside upbringing brought about different perspectives. He had run-ins with the law, though he often evaded them. But the culture had a grip on him.\u003c/p>\n\u003cp>“I was two people,” says Rich, from behind dark sunglasses. “I was Richie Rich and I was Double R.”\u003c/p>\n\u003cp>He elaborates: “Double R was the dude who went down the hill, Richie Rich was the dude who lived up the hill. So Richie Rich wrote ‘Do G’s Get to Go to Heaven,’” he says. “Double R wrote ‘Side Show’ and ‘Snitches and Bitches.'”\u003c/p>\n\u003cp>There’s always been a tug-of-war between these two sides, he says. Fortunately his dad gave him constant reassurance, and his mom gave him spiritual guidance, even if it came in the form of heavy-handed discipline.\u003c/p>\n\u003cp>“My mom was so strict,” Rich reflects, “that when I got caught stealing at Longs Drugs and they told me they was going to call my mom, I said, ‘Na, call the police. Don’t call my momma!'”\u003c/p>\n\u003cp>Once his mother found the Lord, “she brought that spirituality to us and locked us in with it,” says Rich. A sweet woman who was very hard to impress, Rich says he’d get good grades and his mother would remark, “Want to impress me? Show me that you can fly.”\u003c/p>\n\u003cp>When Rich signed with Def Jam, the label sent a car to take him to the airport. Misty-eyed, he reflects on his mother’s reaction. “She knocked on my door, and said, ‘There’s a limousine out front, Richie.’” Fanning out, she asked, “Can I go outside and see?”\u003c/p>\n\u003cp>Rich recalls her floating out the door in her trademark blue robe, sitting in the stretch limo, finally understanding that her son had made something of himself.\u003c/p>\n\u003cfigure id=\"attachment_13968116\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968116\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1293520518.jpg\" alt=\"\" width=\"2000\" height=\"1353\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1293520518.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1293520518-800x541.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1293520518-1020x690.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1293520518-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1293520518-768x520.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1293520518-1536x1039.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1293520518-1920x1299.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Richie Rich pictured in New York City on Aug. 10, 1996, the day he signed with Def Jam Records. \u003ccite>(Al Pereira/Getty Images/Michael Ochs Archives)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[dropcap]R[/dropcap]ich had a conversation with his knees when he was a kid. They told him, “We’re gonna hold you down if the red and blue lights get behind you, or the dogs get to chasing you. Outside of that, don’t be attending those softball games and don’t play no three-on-threes,” he recalls.\u003c/p>\n\u003cp>Years later, Rich still has trouble walking in his own legacy. Almost 35 years since his 1990 debut solo album, \u003cem>Don’t Do It\u003c/em>, he’s on the verge of dropping a new project titled \u003cem>Richard\u003c/em>.\u003c/p>\n\u003cp>The album, set to release on the platform \u003ca href=\"https://get.even.biz/\" target=\"_blank\" rel=\"noopener\">Even\u003c/a> next month and then to all streaming services in January, features \u003ca href=\"https://www.instagram.com/larryjunetfm/?hl=en\" target=\"_blank\" rel=\"noopener\">Larry June\u003c/a>, \u003ca href=\"https://www.instagram.com/youngjr/?hl=en\" target=\"_blank\" rel=\"noopener\">Young JR\u003c/a>, \u003ca href=\"https://www.instagram.com/msjanehandcock/?hl=en\" target=\"_blank\" rel=\"noopener\">Jane Handcock\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/tag/e-40\">E-40\u003c/a> and \u003ca href=\"https://www.instagram.com/thedelinquents86/?hl=en\">V. White of The Delinquents\u003c/a>. There’s a track where Rich pays homage to the slick players who came before him, as well as one with open critiques of current Oakland culture.\u003c/p>\n\u003cfigure id=\"attachment_13968027\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968027\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6378-scaled.jpg\" alt='\"Top of the Rolex, top of the Rolex,\" Richie says as he addresses people during his regular social media video check-ins.' width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6378-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6378-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6378-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6378-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6378-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6378-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6378-1536x2048.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">‘Top of the Rolex, top of the Rolex,’ Richie says as he addresses people during regular social media video check-ins. \u003ccite>(Richie Rich)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Rich has been open about his issues with the place that raised him. In January of this year the rapper made headlines for \u003ca href=\"https://www.tmz.com/watch/2024-01-19-011924-richie-rich-1761556-305/\" target=\"_blank\" rel=\"noopener\">a rant he posted on social media\u003c/a>, proclaiming that he was leaving California. “The cost of living here is going up, but the chances of living is going down,” he says in the video.\u003c/p>\n\u003cp>Today, he explains that Oakland losing its pro sports teams and his favorite restaurants hurts. He adds that it’s very clear that the chasm between classes is growing, and when the haves and have-nots are at odds it makes it hard to own nice things without becoming a target. (And being a known rapper from that place adds another layer.)\u003c/p>\n\u003cp>He stands by many of the things he said in the post, but given time to reflect, he says it’s more about where he’s at this point in life than the Golden State. “I think it’s the invisibility that I’m chasing, not so much a disdain for California,” he says.\u003c/p>\n\u003cp>Rich’s California love is motivated by his ties to the people, from family members to world renowned artists.\u003c/p>\n\u003cfigure id=\"attachment_13968115\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968115\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/screenshot_2024-11-13_at_12.52.25___pm.jpg\" alt=\"\" width=\"2000\" height=\"1499\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/screenshot_2024-11-13_at_12.52.25___pm.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/screenshot_2024-11-13_at_12.52.25___pm-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/screenshot_2024-11-13_at_12.52.25___pm-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/screenshot_2024-11-13_at_12.52.25___pm-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/screenshot_2024-11-13_at_12.52.25___pm-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/screenshot_2024-11-13_at_12.52.25___pm-1536x1151.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/screenshot_2024-11-13_at_12.52.25___pm-1920x1439.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Richie Rich’s motorcycle, Makaveli, bears a portrait tribute to his late friend, Tupac Shakur. \u003ccite>(Courtesy of Richie Rich )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He says he’s appreciative that his friend, the late Tupac Shakur, has \u003ca href=\"https://www.kqed.org/arts/13929233/tupac-shakur-street-oakland-tupac-shakur-way\" target=\"_blank\" rel=\"noopener\">a street named in his honor\u003c/a> and that there’s been \u003ca href=\"https://www.npr.org/2023/09/29/1202754616/suspect-in-tupac-shakur-murder-arrested\" target=\"_blank\" rel=\"noopener\">an arrest in connection to his murder\u003c/a>. But Rich would prefer to see Pac alive now, enjoying all he accomplished.\u003c/p>\n\u003cp>Rich and Pac met around ’91 through a common friend, and became homies; not making music, just hanging out. As Rich’s career was in full swing and Shakur’s was just getting off the ground, Pac asked to be on a track with Rich. “Na, we’re doing gangsta music,” the rapper from the Rolling Hundreds told the young MC from Marin. “You on that Black Power shit.”\u003c/p>\n\u003cp>[aside postID='arts_13927810']The two stayed in contact, though, and Rich watched Tupac’s career explode. When Pac was incarcerated, they exchanged letters; mail that Rich wishes he would’ve kept. With a custom Harley motorcycle parked behind him, painted with Tupac’s face on it, Rich says, “When it’s your homeboy, you not planning on him dying and being one of the most famous people in the world.”\u003c/p>\n\u003cp>Before his death, Rich saw visible changes in Tupac. “He was moving too fast,” says Rich, who urged him to lead a more private life. But that didn’t happen. Rich had to accept that “my little homie became my big homie,” as he says. So Rich did his best to look out for him in life, and continues to represent for him after his death.\u003c/p>\n\u003cp>In addition to the customized motorcycle — named Makaveli — Rich has photos, a framed plaque of albums commemorating the songs they recorded together, and a set of coat hangers in the form of middle fingers. (Tupac loved flipping people off.) Rich also has a handwritten contract ensuring songwriting royalties for his contribution to the song “Heavy in the Game,” framed and mounted on the wall in his house — signed by Tupac and his late mother, Afeni Shakur, just months before Tupac’s death.\u003c/p>\n\u003cfigure id=\"attachment_13968028\" class=\"wp-caption aligncenter\" style=\"max-width: 1800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968028\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7651-scaled-e1731531563979.jpg\" alt=\"A handwritten contract by Tupac Shakur, ensuring Richie Rich gets royalties for their work together; written just months before Tupac's death.\" width=\"1800\" height=\"1510\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7651-scaled-e1731531563979.jpg 1800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7651-scaled-e1731531563979-800x671.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7651-scaled-e1731531563979-1020x856.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7651-scaled-e1731531563979-160x134.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7651-scaled-e1731531563979-768x644.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7651-scaled-e1731531563979-1536x1289.jpg 1536w\" sizes=\"(max-width: 1800px) 100vw, 1800px\">\u003cfigcaption class=\"wp-caption-text\">A handwritten contract by Tupac Shakur, ensuring that Richie Rich received royalties for their work together, written just months before Tupac’s death. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[dropcap]A[/dropcap]ll of the art in Rich’s house is properly positioned. His crib is well-kept and organized. His cars are pristine and his head is shaved clean. It’s all a reflection of who he is, and an extension of the discipline his mother instilled in him.\u003c/p>\n\u003cp>But there are still times when everything isn’t all put together. Instances when the unpredictable happens, like when he hits the stage and literally breaks a leg. That’s when the cool, calm, collected Rich takes a backseat, and Double R comes out.\u003c/p>\n\u003cp>“I know what happened that day,” says Rich, reflecting on the day he fell at the Pergola. He suspects that someone else showed up inside of him — someone he’s known for a while.\u003c/p>\n\u003cp>“He always shows up when I’m in distress,” says Rich. The persona never stays there long enough to introduce himself, but Rich brags, “He’s raw. He knows how to rap, how to ride motorcycles, he knows how to drive cars. Yeah, he’s good at a lot of things.”\u003c/p>\n\u003cfigure id=\"attachment_13968029\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968029\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/LaRussell-x-Richie-Rich-New-Parish-Richie-Rich-111024-74-scaled.jpeg\" alt=\"LaRussell, excited to see Richie Rich perform again, says this show was extra-special for his mother and father who were in the audience at The New Parish during the show.\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/LaRussell-x-Richie-Rich-New-Parish-Richie-Rich-111024-74-scaled.jpeg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/LaRussell-x-Richie-Rich-New-Parish-Richie-Rich-111024-74-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/LaRussell-x-Richie-Rich-New-Parish-Richie-Rich-111024-74-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/LaRussell-x-Richie-Rich-New-Parish-Richie-Rich-111024-74-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/LaRussell-x-Richie-Rich-New-Parish-Richie-Rich-111024-74-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/LaRussell-x-Richie-Rich-New-Parish-Richie-Rich-111024-74-1536x1024.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/LaRussell-x-Richie-Rich-New-Parish-Richie-Rich-111024-74-2048x1365.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/LaRussell-x-Richie-Rich-New-Parish-Richie-Rich-111024-74-1920x1280.jpeg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">LaRussell, excited to see Richie Rich perform again, says the New Parish show was extra-special for his mother and father, who were in the audience. \u003ccite>(Jason Hayes / \u003ca href=\"https://www.instagram.com/j.castae/?hl=en\" target=\"_blank\">J.Castae\u003c/a>)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The song that started all of this, “What We Doin!?,” was released in June 2024 — with some subtly prophetic lines. On the first verse, recorded weeks before Rich injured his leg while performing the song, LaRussell says “Broke a leg, re-learned how to stand.” In the third verse, Rich advises: “If you know me, never underestimate the OG.” Doctors told him it would take eight months to heal. Four months later he was back on stage.\u003c/p>\n\u003cp>At The New Parish on that Sunday afternoon in Oakland, Rich was sharp throughout the hour-long performance. A few weeks before the show, LaRussell had pulled some of his favorite Richie Rich tracks and asked if he could add them to the setlist. And though they didn’t rehearse beforehand, the two didn’t miss a beat, going through hit after hit, like Rich’s 2000 track “Playboy” and LaRussell’s 2021 song “GT Coupe.” They reimagined songs in never-before-heard iterations, spanning generations.\u003c/p>\n\u003cp>The following day, Rich tells me his leg is doing fine. Talking just after getting off the phone with LaRussell, he adds that the younger rapper discussed future collaborations and offered continued encouragement to the rapper who, nearly 30 years after his Def Jam debut, has more than earned the title \u003cem>Seasoned Veteran\u003c/em>.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“I didn’t know you was a dog like that, Double,” LaRussell told him. “A unc, you still got it.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">O\u003c/span>\u003c/p>\u003cp>n a Sunday afternoon in mid-November, \u003ca href=\"https://www.instagram.com/larussell/?hl=en\" target=\"_blank\" rel=\"noopener\">LaRussell\u003c/a> is onstage at The New Parish in Oakland, energetically hurling rhyme pyrotechnics, just days after the premiere of \u003ca href=\"https://www.youtube.com/watch?v=w40XbPyotj8\" target=\"_blank\" rel=\"noopener\">his NPR \u003cem>Tiny Desk\u003c/em> concert\u003c/a>.\u003c/p>\n\u003cp>Known for his clever lyrics, charismatic personality and nonstop production, LaRussell has \u003ca href=\"https://www.kqed.org/arts/13937331/larussell-vallejo-def-jam-record-deal\">refused to sign with a major label\u003c/a>. He hosts sold-out shows at a small venue, The Pergola, built in his backyard. Staunchly independent, he’s paved his own lane in the rap game by investing in himself, his community and his culture.\u003c/p>\n\u003cp>His latest investment: the reintroduction of \u003ca href=\"https://www.instagram.com/tharealrichierich/\" target=\"_blank\" rel=\"noopener\">Richie Rich\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13968024\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968024\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/LaRussell-x-Richie-Rich-New-Parish-Richie-Rich-111024-66-scaled.jpeg\" alt='While on stage with rising Vallejo rap star LaRussell at the New Parish in Oakland, veteran rapper Richie Rich tells the crowd that \"Double R\" now stands for LaRussell and Rich.' width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/LaRussell-x-Richie-Rich-New-Parish-Richie-Rich-111024-66-scaled.jpeg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/LaRussell-x-Richie-Rich-New-Parish-Richie-Rich-111024-66-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/LaRussell-x-Richie-Rich-New-Parish-Richie-Rich-111024-66-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/LaRussell-x-Richie-Rich-New-Parish-Richie-Rich-111024-66-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/LaRussell-x-Richie-Rich-New-Parish-Richie-Rich-111024-66-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/LaRussell-x-Richie-Rich-New-Parish-Richie-Rich-111024-66-1536x1024.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/LaRussell-x-Richie-Rich-New-Parish-Richie-Rich-111024-66-2048x1365.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/LaRussell-x-Richie-Rich-New-Parish-Richie-Rich-111024-66-1920x1280.jpeg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">At the New Parish in Oakland on Nov. 10, 2024, veteran rapper Richie Rich tells the crowd that “Double R” now stands for LaRussell and Rich. \u003ccite>(Jason Hayes / \u003ca href=\"https://www.instagram.com/j.castae/?hl=en\" target=\"_blank\">J.Castae\u003c/a>)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Minutes into Sunday’s show, after LaRussell warms up the crowd with violinist \u003ca href=\"https://www.instagram.com/michaelprinceviolin/?hl=en\" target=\"_blank\" rel=\"noopener\">Michael Prince\u003c/a> and vocalist \u003ca href=\"https://www.instagram.com/shante_music/\" target=\"_blank\" rel=\"noopener\">Shanté\u003c/a>, Rich walks out on stage.\u003c/p>\n\u003cp>Richie Rich’s pedigree is \u003cem>deep\u003c/em>. He’s a former Def Jam signee who influenced Snoop Dogg and was friends with Tupac. He had songs on \u003ca href=\"https://www.youtube.com/watch?v=YC_RQEby1JQ\" target=\"_blank\" rel=\"noopener\">\u003cem>The Nutty Professor\u003c/em>\u003c/a> and \u003ca href=\"https://open.spotify.com/track/3EcVo3nMBveyqGi7MzTZdM\" target=\"_blank\" rel=\"noopener\">\u003cem>How To Be A Player\u003c/em>\u003c/a> soundtracks. His 1996 album \u003cem>Seasoned Veteran\u003c/em> spawned two singles on the Billboard Top 100. And his verse on \u003ca href=\"http://www.kqed.org/bayareahiphop/timeline#i-got-5-on-it-remix-a-meeting-of-greats-recorded-in-alameda\">the remix to the Luniz’ anthem “I Got 5 On It”\u003c/a> provided the Town with the classic line: “Where you from? Oakland. Smokin’.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Fittingly, at the New Parish, the artist who founded the pioneering rap group 415 enters to the beat of one of his group’s best-known songs, 1990’s “\u003ca href=\"https://www.youtube.com/watch?v=UsOeXoZoYPo\" target=\"_blank\" rel=\"noopener\">Side Show\u003c/a>.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/SQGqYHg-uyI'\n title='//www.youtube.com/embed/SQGqYHg-uyI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Over a stripped-down instrumental on live keyboard, Rich raps bar-for-bar in his raspy, laid-back flow, crisp and clear, without any background vocals. When the chorus hits, LaRussell steps in and remixes it, pulling from \u003ca href=\"https://www.youtube.com/watch?v=h4d7UwaNrIQ\" target=\"_blank\" rel=\"noopener\">the 2006 remake, “The Sideshow,”\u003c/a> by the late Traxamillion, Too Short and Mistah FAB.\u003c/p>\n\u003cp>It becomes clear: this isn’t just a guest appearance of Richie Rich at a LaRussell show. No, this is two emcees, with an age gap of over 20 years, trading bars, innovating on stage and moving the crowd.\u003c/p>\n\u003cp>As the audience recites the lyrics, the energy builds. LaRussell and \u003ca href=\"https://www.instagram.com/splashthakidd/\" target=\"_blank\" rel=\"noopener\">Splash Tha Kidd\u003c/a> are on stage giggin’, jumping as they dance. After the second verse, the crowd is turned up.\u003c/p>\n\u003cp>Richie Rich, grounded, laughs and calmly says, “Na… that’s how you got me last time.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/s3TM5WSCvZs'\n title='//www.youtube.com/embed/s3TM5WSCvZs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">F\u003c/span>\u003c/p>\u003cp>our months prior in LaRussell’s backyard, onstage at the Pergola, the energy got the best of Rich.\u003c/p>\n\u003cp>During a performance of the song “What We Doin!?” which features Richie Rich alongside LaRussell and \u003ca href=\"https://www.instagram.com/mal4chii/\" target=\"_blank\" rel=\"noopener\">an 18 year-old MC named MALACHI,\u003c/a> Rich was in go mode. The P-Lo–produced track, full of high energy, is the type of song that makes one jump on stage — even if they know damn well they shouldn’t.\u003c/p>\n\u003cp>Under the scorching August sun, Rich was a few bars into his verse when the 56-year-old rapper, bouncing alongside the crowd, turned to his left. Suddenly, his knee popped. Falling to the ground, he kept rapping without missing a beat, freestyling new lyrics to communicate what’d just happened to his leg — “blew my knee actin’ out my age” — and even diagnosing it as a torn lower patella.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/YGqKGhZkuug'\n title='//www.youtube.com/embed/YGqKGhZkuug'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>All of this could’ve easily become a huge setback. Instead, in a world where the elements of hip-hop have expanded to include viral moments and social media influence, the widely viewed footage of Richie Rich kicking culture while sustaining a painful injury only helped reestablish his footprint in the rap game.\u003c/p>\n\u003cp>I recently caught up with Rich for a long conversation at his home in the East Bay, his leg in a brace as he sat across from me. Rich is a mild-mannered person who was raised by well-to-do parents, but despite his upbringing — and lifelong issues with his knees — he ran the streets.\u003c/p>\n\u003cfigure id=\"attachment_13968025\" class=\"wp-caption aligncenter\" style=\"max-width: 1180px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968025\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6004-e1731530175543.jpg\" alt=\"With a scar on one knee and the other in a brace, you can tell that Richie Rich has had some conversations with his knees-- and they've done most of the talking.\" width=\"1180\" height=\"1554\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6004-e1731530175543.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6004-e1731530175543-800x1054.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6004-e1731530175543-1020x1343.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6004-e1731530175543-160x211.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6004-e1731530175543-768x1011.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6004-e1731530175543-1166x1536.jpg 1166w\" sizes=\"(max-width: 1180px) 100vw, 1180px\">\u003cfigcaption class=\"wp-caption-text\">With a scar on one knee and the other in a brace, it’s clear Richie Rich has had some conversations with his knees — and they’ve done most of the talking. \u003ccite>(Courtesy of Richie Rich)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I’m from up the hill, I’m not even from the flats,” says Rich, explaining his childhood and the topography of Deep East Oakland in one statement. “I went down the hill, and that shit changed me, bro,” he says.\u003c/p>\n\u003cp>“Them spokes that you see on that car out here?” Rich says, pointing to the gold rims of his cognac-colored 1972 Cutlass Oldsmobile. He first saw them, he explains, on a Falcon when he was 12. Little Rich ran to tell the driver how clean they were, but the light turned green and the driver pulled off. A few weeks later, Rich caught the driver at a red light and properly complemented him. The driver thanked him, and suggested he could one day have a car like that, too, before tapping the gas pedal and leaving tire treads in the intersection.\u003c/p>\n\u003cp>“If I live to be 90,” says Rich, fully committed to his cars, “I’ma have some gold ones and Vogues, you better know.”\u003c/p>\n\u003cfigure id=\"attachment_13968026\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968026\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6682-scaled.jpg\" alt=\"Rapper Richie Rich poses in a Raiders Bo Jackson jersey, while standing in front of his Cutlass Oldsmobile.\" width=\"2560\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6682-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6682-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6682-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6682-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6682-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6682-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6682-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6682-1920x1440.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">In a Raiders Bo Jackson jersey, Richie Rich poses with his 1972 Oldsmobile Cutlass Supreme. \u003ccite>(Courtesy of Richie Rich)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Rich’s street life and hillside upbringing brought about different perspectives. He had run-ins with the law, though he often evaded them. But the culture had a grip on him.\u003c/p>\n\u003cp>“I was two people,” says Rich, from behind dark sunglasses. “I was Richie Rich and I was Double R.”\u003c/p>\n\u003cp>He elaborates: “Double R was the dude who went down the hill, Richie Rich was the dude who lived up the hill. So Richie Rich wrote ‘Do G’s Get to Go to Heaven,’” he says. “Double R wrote ‘Side Show’ and ‘Snitches and Bitches.'”\u003c/p>\n\u003cp>There’s always been a tug-of-war between these two sides, he says. Fortunately his dad gave him constant reassurance, and his mom gave him spiritual guidance, even if it came in the form of heavy-handed discipline.\u003c/p>\n\u003cp>“My mom was so strict,” Rich reflects, “that when I got caught stealing at Longs Drugs and they told me they was going to call my mom, I said, ‘Na, call the police. Don’t call my momma!'”\u003c/p>\n\u003cp>Once his mother found the Lord, “she brought that spirituality to us and locked us in with it,” says Rich. A sweet woman who was very hard to impress, Rich says he’d get good grades and his mother would remark, “Want to impress me? Show me that you can fly.”\u003c/p>\n\u003cp>When Rich signed with Def Jam, the label sent a car to take him to the airport. Misty-eyed, he reflects on his mother’s reaction. “She knocked on my door, and said, ‘There’s a limousine out front, Richie.’” Fanning out, she asked, “Can I go outside and see?”\u003c/p>\n\u003cp>Rich recalls her floating out the door in her trademark blue robe, sitting in the stretch limo, finally understanding that her son had made something of himself.\u003c/p>\n\u003cfigure id=\"attachment_13968116\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968116\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1293520518.jpg\" alt=\"\" width=\"2000\" height=\"1353\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1293520518.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1293520518-800x541.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1293520518-1020x690.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1293520518-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1293520518-768x520.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1293520518-1536x1039.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1293520518-1920x1299.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Richie Rich pictured in New York City on Aug. 10, 1996, the day he signed with Def Jam Records. \u003ccite>(Al Pereira/Getty Images/Michael Ochs Archives)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">R\u003c/span>\u003c/p>\u003cp>ich had a conversation with his knees when he was a kid. They told him, “We’re gonna hold you down if the red and blue lights get behind you, or the dogs get to chasing you. Outside of that, don’t be attending those softball games and don’t play no three-on-threes,” he recalls.\u003c/p>\n\u003cp>Years later, Rich still has trouble walking in his own legacy. Almost 35 years since his 1990 debut solo album, \u003cem>Don’t Do It\u003c/em>, he’s on the verge of dropping a new project titled \u003cem>Richard\u003c/em>.\u003c/p>\n\u003cp>The album, set to release on the platform \u003ca href=\"https://get.even.biz/\" target=\"_blank\" rel=\"noopener\">Even\u003c/a> next month and then to all streaming services in January, features \u003ca href=\"https://www.instagram.com/larryjunetfm/?hl=en\" target=\"_blank\" rel=\"noopener\">Larry June\u003c/a>, \u003ca href=\"https://www.instagram.com/youngjr/?hl=en\" target=\"_blank\" rel=\"noopener\">Young JR\u003c/a>, \u003ca href=\"https://www.instagram.com/msjanehandcock/?hl=en\" target=\"_blank\" rel=\"noopener\">Jane Handcock\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/tag/e-40\">E-40\u003c/a> and \u003ca href=\"https://www.instagram.com/thedelinquents86/?hl=en\">V. White of The Delinquents\u003c/a>. There’s a track where Rich pays homage to the slick players who came before him, as well as one with open critiques of current Oakland culture.\u003c/p>\n\u003cfigure id=\"attachment_13968027\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968027\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6378-scaled.jpg\" alt='\"Top of the Rolex, top of the Rolex,\" Richie says as he addresses people during his regular social media video check-ins.' width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6378-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6378-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6378-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6378-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6378-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6378-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6378-1536x2048.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">‘Top of the Rolex, top of the Rolex,’ Richie says as he addresses people during regular social media video check-ins. \u003ccite>(Richie Rich)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Rich has been open about his issues with the place that raised him. In January of this year the rapper made headlines for \u003ca href=\"https://www.tmz.com/watch/2024-01-19-011924-richie-rich-1761556-305/\" target=\"_blank\" rel=\"noopener\">a rant he posted on social media\u003c/a>, proclaiming that he was leaving California. “The cost of living here is going up, but the chances of living is going down,” he says in the video.\u003c/p>\n\u003cp>Today, he explains that Oakland losing its pro sports teams and his favorite restaurants hurts. He adds that it’s very clear that the chasm between classes is growing, and when the haves and have-nots are at odds it makes it hard to own nice things without becoming a target. (And being a known rapper from that place adds another layer.)\u003c/p>\n\u003cp>He stands by many of the things he said in the post, but given time to reflect, he says it’s more about where he’s at this point in life than the Golden State. “I think it’s the invisibility that I’m chasing, not so much a disdain for California,” he says.\u003c/p>\n\u003cp>Rich’s California love is motivated by his ties to the people, from family members to world renowned artists.\u003c/p>\n\u003cfigure id=\"attachment_13968115\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968115\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/screenshot_2024-11-13_at_12.52.25___pm.jpg\" alt=\"\" width=\"2000\" height=\"1499\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/screenshot_2024-11-13_at_12.52.25___pm.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/screenshot_2024-11-13_at_12.52.25___pm-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/screenshot_2024-11-13_at_12.52.25___pm-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/screenshot_2024-11-13_at_12.52.25___pm-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/screenshot_2024-11-13_at_12.52.25___pm-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/screenshot_2024-11-13_at_12.52.25___pm-1536x1151.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/screenshot_2024-11-13_at_12.52.25___pm-1920x1439.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Richie Rich’s motorcycle, Makaveli, bears a portrait tribute to his late friend, Tupac Shakur. \u003ccite>(Courtesy of Richie Rich )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He says he’s appreciative that his friend, the late Tupac Shakur, has \u003ca href=\"https://www.kqed.org/arts/13929233/tupac-shakur-street-oakland-tupac-shakur-way\" target=\"_blank\" rel=\"noopener\">a street named in his honor\u003c/a> and that there’s been \u003ca href=\"https://www.npr.org/2023/09/29/1202754616/suspect-in-tupac-shakur-murder-arrested\" target=\"_blank\" rel=\"noopener\">an arrest in connection to his murder\u003c/a>. But Rich would prefer to see Pac alive now, enjoying all he accomplished.\u003c/p>\n\u003cp>Rich and Pac met around ’91 through a common friend, and became homies; not making music, just hanging out. As Rich’s career was in full swing and Shakur’s was just getting off the ground, Pac asked to be on a track with Rich. “Na, we’re doing gangsta music,” the rapper from the Rolling Hundreds told the young MC from Marin. “You on that Black Power shit.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The two stayed in contact, though, and Rich watched Tupac’s career explode. When Pac was incarcerated, they exchanged letters; mail that Rich wishes he would’ve kept. With a custom Harley motorcycle parked behind him, painted with Tupac’s face on it, Rich says, “When it’s your homeboy, you not planning on him dying and being one of the most famous people in the world.”\u003c/p>\n\u003cp>Before his death, Rich saw visible changes in Tupac. “He was moving too fast,” says Rich, who urged him to lead a more private life. But that didn’t happen. Rich had to accept that “my little homie became my big homie,” as he says. So Rich did his best to look out for him in life, and continues to represent for him after his death.\u003c/p>\n\u003cp>In addition to the customized motorcycle — named Makaveli — Rich has photos, a framed plaque of albums commemorating the songs they recorded together, and a set of coat hangers in the form of middle fingers. (Tupac loved flipping people off.) Rich also has a handwritten contract ensuring songwriting royalties for his contribution to the song “Heavy in the Game,” framed and mounted on the wall in his house — signed by Tupac and his late mother, Afeni Shakur, just months before Tupac’s death.\u003c/p>\n\u003cfigure id=\"attachment_13968028\" class=\"wp-caption aligncenter\" style=\"max-width: 1800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968028\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7651-scaled-e1731531563979.jpg\" alt=\"A handwritten contract by Tupac Shakur, ensuring Richie Rich gets royalties for their work together; written just months before Tupac's death.\" width=\"1800\" height=\"1510\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7651-scaled-e1731531563979.jpg 1800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7651-scaled-e1731531563979-800x671.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7651-scaled-e1731531563979-1020x856.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7651-scaled-e1731531563979-160x134.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7651-scaled-e1731531563979-768x644.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7651-scaled-e1731531563979-1536x1289.jpg 1536w\" sizes=\"(max-width: 1800px) 100vw, 1800px\">\u003cfigcaption class=\"wp-caption-text\">A handwritten contract by Tupac Shakur, ensuring that Richie Rich received royalties for their work together, written just months before Tupac’s death. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">A\u003c/span>\u003c/p>\u003cp>ll of the art in Rich’s house is properly positioned. His crib is well-kept and organized. His cars are pristine and his head is shaved clean. It’s all a reflection of who he is, and an extension of the discipline his mother instilled in him.\u003c/p>\n\u003cp>But there are still times when everything isn’t all put together. Instances when the unpredictable happens, like when he hits the stage and literally breaks a leg. That’s when the cool, calm, collected Rich takes a backseat, and Double R comes out.\u003c/p>\n\u003cp>“I know what happened that day,” says Rich, reflecting on the day he fell at the Pergola. He suspects that someone else showed up inside of him — someone he’s known for a while.\u003c/p>\n\u003cp>“He always shows up when I’m in distress,” says Rich. The persona never stays there long enough to introduce himself, but Rich brags, “He’s raw. He knows how to rap, how to ride motorcycles, he knows how to drive cars. Yeah, he’s good at a lot of things.”\u003c/p>\n\u003cfigure id=\"attachment_13968029\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968029\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/LaRussell-x-Richie-Rich-New-Parish-Richie-Rich-111024-74-scaled.jpeg\" alt=\"LaRussell, excited to see Richie Rich perform again, says this show was extra-special for his mother and father who were in the audience at The New Parish during the show.\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/LaRussell-x-Richie-Rich-New-Parish-Richie-Rich-111024-74-scaled.jpeg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/LaRussell-x-Richie-Rich-New-Parish-Richie-Rich-111024-74-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/LaRussell-x-Richie-Rich-New-Parish-Richie-Rich-111024-74-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/LaRussell-x-Richie-Rich-New-Parish-Richie-Rich-111024-74-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/LaRussell-x-Richie-Rich-New-Parish-Richie-Rich-111024-74-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/LaRussell-x-Richie-Rich-New-Parish-Richie-Rich-111024-74-1536x1024.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/LaRussell-x-Richie-Rich-New-Parish-Richie-Rich-111024-74-2048x1365.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/LaRussell-x-Richie-Rich-New-Parish-Richie-Rich-111024-74-1920x1280.jpeg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">LaRussell, excited to see Richie Rich perform again, says the New Parish show was extra-special for his mother and father, who were in the audience. \u003ccite>(Jason Hayes / \u003ca href=\"https://www.instagram.com/j.castae/?hl=en\" target=\"_blank\">J.Castae\u003c/a>)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The song that started all of this, “What We Doin!?,” was released in June 2024 — with some subtly prophetic lines. On the first verse, recorded weeks before Rich injured his leg while performing the song, LaRussell says “Broke a leg, re-learned how to stand.” In the third verse, Rich advises: “If you know me, never underestimate the OG.” Doctors told him it would take eight months to heal. Four months later he was back on stage.\u003c/p>\n\u003cp>At The New Parish on that Sunday afternoon in Oakland, Rich was sharp throughout the hour-long performance. A few weeks before the show, LaRussell had pulled some of his favorite Richie Rich tracks and asked if he could add them to the setlist. And though they didn’t rehearse beforehand, the two didn’t miss a beat, going through hit after hit, like Rich’s 2000 track “Playboy” and LaRussell’s 2021 song “GT Coupe.” They reimagined songs in never-before-heard iterations, spanning generations.\u003c/p>\n\u003cp>The following day, Rich tells me his leg is doing fine. Talking just after getting off the phone with LaRussell, he adds that the younger rapper discussed future collaborations and offered continued encouragement to the rapper who, nearly 30 years after his Def Jam debut, has more than earned the title \u003cem>Seasoned Veteran\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I didn’t know you was a dog like that, Double,” LaRussell told him. “A unc, you still got it.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Today, the \u003ca href=\"https://thecjm.org/\">Contemporary Jewish Museum\u003c/a> announced it would close its galleries to the public on Dec. 15, citing financial difficulties. The closure will last for at least one year while staff, board members and other advisors develop plans for a more financially sustainable future. Staff layoffs will take place in phases over the next several months as the museum shrinks from 30 regular employees to 11.\u003c/p>\n\u003cp>[aside postID='arts_13963960,arts_13959468']With an operating budget of $8.5 million, the CJM is on the smaller side of local museums. Nearby Yerba Buena Center for the Arts has an operating budget of $17.7 million; the San Francisco Museum of Modern Art runs on $91.4 million. CJM tax filings show years of operating deficits; recently, that gap widened to $4.9 million.\u003c/p>\n\u003cp>“Our revenue and expenses have been out of balance for some time,” CJM Executive Director Kerry King told KQED. “And like many institutions, we’ve found one-off ways to solve for that. But that doesn’t really solve the underlying balance situation.”\u003c/p>\n\u003cp>King, who was previously the museum’s chief operating officer and stepped into her current role following \u003ca href=\"https://www.kqed.org/arts/13930607/contemporary-jewish-museum-executive-director-chad-coerver-step-down\">Chad Coerver’s departure in 2023\u003c/a>, referred to the planned closure as a “sabbatical.”\u003c/p>\n\u003cp>“What we don’t want to do is close,” she said.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Today’s announcement cited “a challenging financial landscape, compounded by declining attendance and general support that has not fully recovered since the pandemic.”\u003c/p>\n\u003cp>“There’s no one thing we can point to,” King said of the CJM’s financial struggles. But it was clear to King and the board that this drastic step needed to be taken now, while there was still time to come up with a plan that could shape the museum’s future. \u003c/p>\n\u003cfigure id=\"attachment_13968006\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968006\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/4_GlenCheriton_LeahRosenberg.jpg\" alt=\"colorful chairs and benches in an angular space with colored light cast against walls\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/4_GlenCheriton_LeahRosenberg.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/4_GlenCheriton_LeahRosenberg-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/4_GlenCheriton_LeahRosenberg-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/4_GlenCheriton_LeahRosenberg-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/4_GlenCheriton_LeahRosenberg-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/4_GlenCheriton_LeahRosenberg-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/4_GlenCheriton_LeahRosenberg-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">An installation view of Leah Rosenberg’s ‘When One Sees a Rainbow,’ which was scheduled to remain on view through April 27, 2027. \u003ccite>(Glen Cheriton)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“This decision does not come without significant pain,” King was quoted saying in today’s announcement, “because it will affect our team of extraordinary and deeply dedicated individuals who work tirelessly to fulfill the museum’s mission.”\u003c/p>\n\u003cp>King said everything is on the table during the closure. They’ll be looking at scale, programming and funding sources. (In 2023, contributions accounted for over 70% of the museum’s revenue.) What won’t change, King said, are the museum’s core values.\u003c/p>\n\u003cp>“It continues to be the most important time ever for us to exist,” King said. “And for us to be a voice through the art and through the people that work here … for understanding what Jewish is.”\u003c/p>\n\u003cp>One possible route to balanced books could include relocating to a smaller venue. Founded in 1984 within the Jewish Community Federation of San Francisco on Steuart Street, the CJM opened its current Jessie Square location, a Daniel Libeskind-designed 63,000-square-foot building, in 2008. The museum currently holds a bank loan connected to the building’s construction; that loan is $1.5 million of the museum’s annual expenses.\u003c/p>\n\u003cp>“It’s a very expensive building to own and operate,” King said, citing mechanical and structural maintenance, as well as the cost of keeping the exhibition spaces climate controlled.\u003c/p>\n\u003cp>While the museum does have restricted and unrestricted endowment funds, King said, “A key goal of what we’re undertaking right now is to preserve as much of those assets as we can for our continued way forward.”\u003c/p>\n\u003cp>The CJM’s announcement follows news of steep financial challenges at other local arts and culture institutions. California College of the Arts recently implemented layoffs to address \u003ca href=\"https://www.cca.edu/newsroom/california-college-of-the-arts-implements-staff-layoffs/\">a $20 million deficit\u003c/a>. Earlier this year, Headlands Center for the Arts went into a similar period of “cocooning” after \u003ca href=\"https://www.kqed.org/arts/13951936/headlands-center-for-the-arts-layoffs-fundraising-shortfalls\">laying off over a quarter of its staff\u003c/a>.\u003c/p>\n\u003cp>The Dec. 15 closure at the CJM will cut short all five of the museum’s current exhibitions, which include \u003ci>\u003ca href=\"https://www.kqed.org/arts/13959468/california-jewish-open-cjm-review\">California Jewish Open\u003c/a>\u003c/i>, Nicki Green’s solo \u003ci>\u003ca href=\"https://www.kqed.org/arts/13963960/nicki-green-firmament-contemporary-jewish-museum-review\">Firmament\u003c/a>\u003c/i> and Leah Rosenberg’s long-term installation \u003ci>\u003ca href=\"https://thecjm.org/exhibitions/235\">When One Sees a Rainbow\u003c/a>\u003c/i>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The museum will be open with free admission through Dec. 15 to give audiences a last chance to see the shows.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Today, the \u003ca href=\"https://thecjm.org/\">Contemporary Jewish Museum\u003c/a> announced it would close its galleries to the public on Dec. 15, citing financial difficulties. The closure will last for at least one year while staff, board members and other advisors develop plans for a more financially sustainable future. Staff layoffs will take place in phases over the next several months as the museum shrinks from 30 regular employees to 11.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>With an operating budget of $8.5 million, the CJM is on the smaller side of local museums. Nearby Yerba Buena Center for the Arts has an operating budget of $17.7 million; the San Francisco Museum of Modern Art runs on $91.4 million. CJM tax filings show years of operating deficits; recently, that gap widened to $4.9 million.\u003c/p>\n\u003cp>“Our revenue and expenses have been out of balance for some time,” CJM Executive Director Kerry King told KQED. “And like many institutions, we’ve found one-off ways to solve for that. But that doesn’t really solve the underlying balance situation.”\u003c/p>\n\u003cp>King, who was previously the museum’s chief operating officer and stepped into her current role following \u003ca href=\"https://www.kqed.org/arts/13930607/contemporary-jewish-museum-executive-director-chad-coerver-step-down\">Chad Coerver’s departure in 2023\u003c/a>, referred to the planned closure as a “sabbatical.”\u003c/p>\n\u003cp>“What we don’t want to do is close,” she said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Today’s announcement cited “a challenging financial landscape, compounded by declining attendance and general support that has not fully recovered since the pandemic.”\u003c/p>\n\u003cp>“There’s no one thing we can point to,” King said of the CJM’s financial struggles. But it was clear to King and the board that this drastic step needed to be taken now, while there was still time to come up with a plan that could shape the museum’s future. \u003c/p>\n\u003cfigure id=\"attachment_13968006\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968006\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/4_GlenCheriton_LeahRosenberg.jpg\" alt=\"colorful chairs and benches in an angular space with colored light cast against walls\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/4_GlenCheriton_LeahRosenberg.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/4_GlenCheriton_LeahRosenberg-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/4_GlenCheriton_LeahRosenberg-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/4_GlenCheriton_LeahRosenberg-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/4_GlenCheriton_LeahRosenberg-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/4_GlenCheriton_LeahRosenberg-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/4_GlenCheriton_LeahRosenberg-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">An installation view of Leah Rosenberg’s ‘When One Sees a Rainbow,’ which was scheduled to remain on view through April 27, 2027. \u003ccite>(Glen Cheriton)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“This decision does not come without significant pain,” King was quoted saying in today’s announcement, “because it will affect our team of extraordinary and deeply dedicated individuals who work tirelessly to fulfill the museum’s mission.”\u003c/p>\n\u003cp>King said everything is on the table during the closure. They’ll be looking at scale, programming and funding sources. (In 2023, contributions accounted for over 70% of the museum’s revenue.) What won’t change, King said, are the museum’s core values.\u003c/p>\n\u003cp>“It continues to be the most important time ever for us to exist,” King said. “And for us to be a voice through the art and through the people that work here … for understanding what Jewish is.”\u003c/p>\n\u003cp>One possible route to balanced books could include relocating to a smaller venue. Founded in 1984 within the Jewish Community Federation of San Francisco on Steuart Street, the CJM opened its current Jessie Square location, a Daniel Libeskind-designed 63,000-square-foot building, in 2008. The museum currently holds a bank loan connected to the building’s construction; that loan is $1.5 million of the museum’s annual expenses.\u003c/p>\n\u003cp>“It’s a very expensive building to own and operate,” King said, citing mechanical and structural maintenance, as well as the cost of keeping the exhibition spaces climate controlled.\u003c/p>\n\u003cp>While the museum does have restricted and unrestricted endowment funds, King said, “A key goal of what we’re undertaking right now is to preserve as much of those assets as we can for our continued way forward.”\u003c/p>\n\u003cp>The CJM’s announcement follows news of steep financial challenges at other local arts and culture institutions. California College of the Arts recently implemented layoffs to address \u003ca href=\"https://www.cca.edu/newsroom/california-college-of-the-arts-implements-staff-layoffs/\">a $20 million deficit\u003c/a>. Earlier this year, Headlands Center for the Arts went into a similar period of “cocooning” after \u003ca href=\"https://www.kqed.org/arts/13951936/headlands-center-for-the-arts-layoffs-fundraising-shortfalls\">laying off over a quarter of its staff\u003c/a>.\u003c/p>\n\u003cp>The Dec. 15 closure at the CJM will cut short all five of the museum’s current exhibitions, which include \u003ci>\u003ca href=\"https://www.kqed.org/arts/13959468/california-jewish-open-cjm-review\">California Jewish Open\u003c/a>\u003c/i>, Nicki Green’s solo \u003ci>\u003ca href=\"https://www.kqed.org/arts/13963960/nicki-green-firmament-contemporary-jewish-museum-review\">Firmament\u003c/a>\u003c/i> and Leah Rosenberg’s long-term installation \u003ci>\u003ca href=\"https://thecjm.org/exhibitions/235\">When One Sees a Rainbow\u003c/a>\u003c/i>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The museum will be open with free admission through Dec. 15 to give audiences a last chance to see the shows.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>As is tradition, we find ourselves once again in the heart of holiday movie season. This year’s installments include everything from a snowman who “comes to life,” shirtless Chad Michael Murray, Jack Black as Satan, and two Donna Kelce cameos. An exhaustive list would be prohibitive for both my editorial resources and your patience, but holiday movies are too dear to too many people to skip an update about what’s shaking in this particular glittery snow globe.\u003c/p>\n\u003cp>Here, we’ve broken down the highlights of the season, from the heavy-hitters to new franchise installments and goofy titles. There are casting surprises (like stars of \u003cem>The Office\u003c/em>), and Hanukkah movies on the way. Many of these TV movies are out as of Thanksgiving, but we’ve noted the premiere dates of those yet to come.\u003c/p>\n\u003cp>Let’s take a tour through some highlights.\u003c/p>\n\u003ch2>High-profile entries\u003c/h2>\n\u003cp>Every year, a few holiday TV movies poke their heads above the sea of films made for the die-hards — the people who can tell you off the tops of their heads exactly which frequent lead starred opposite Brandon Routh in \u003cem>The Nine Lives of Christmas\u003c/em> — and become known to the wider population.\u003c/p>\n\u003cp>(It was Kimberley Sustad, obviously. She’s not only been a great lead for Hallmark, but she’s now writing for them, too.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Here are a few that may reach you even if you are not a close follower of this space. They lean toward Netflix, simply because of its size and reach, as well as the fact that Netflix makes fewer movies and makes a bigger deal out of each of them than some of the other providers.\u003c/p>\n\u003ch2>‘Hot Frosty’\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=Dmi794YO-0w\u003c/p>\n\u003cp>Social media may have given you the lowdown on \u003cem>Hot Frosty\u003c/em>, which ran for many days at the very top of Netflix’s list of hottest movies. But just in case: \u003cem>Hot Frosty \u003c/em>stars Lacey Chabert (of \u003cem>Party of Five\u003c/em>, \u003cem>Mean Girls\u003c/em>, and roughly 15 prior Christmas movies by my count) and Dustin Milligan (\u003cem>Schitt’s Creek\u003c/em>). She plays a woman who puts a magic scarf on a very realistic snowman who comes to life; he plays the “comes to life.”\u003c/p>\n\u003cp>What follows is a very, very silly — but fortunately self-aware — little comedy also starring Craig Robinson and Joe Lo Truglio (in a \u003cem>Brooklyn Nine-Nine\u003c/em> reunion) as local law enforcement. They are in pursuit of the snowman because they believe him to be a dangerous streaker. That’s right: a dangerous streaker. I mean, he did come to life without pants on.\u003c/p>\n\u003ch2>‘The Merry Gentlemen’\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=G80Q8-MJM1A\u003c/p>\n\u003cfigure class=\"wp-block-embed is-type-video\">\u003c/figure>\n\u003cp>Speaking of coming to life without pants on: I’ve always thought the holiday movie market needs more exotic dancers. Netflix comes through with \u003cem>The Merry Gentlemen\u003c/em>, in which Chad Michael Murray (of \u003cem>One Tree Hill\u003c/em>) and some other shirtless fellows save Christmas. He meets a woman, played by Britt Robertson, who wants desperately to save her parents’ struggling small music venue, The Rhythm Room (!).\u003c/p>\n\u003cp>She comes up with an idea: a PG-13 all-male revue featuring hot men she happens to know in her personal life. My favorite supporting Merry Gentleman: a local played by Maxwell Caulfield, who looked great in \u003cem>Grease 2 \u003c/em>when he was in his early 20s and looks great in this in his 60s. You go, Maxwell Caulfield. Don’t you let them touch your chest hair, either. (This, by the way, is the film that has dethroned \u003cem>Hot Frosty \u003c/em>atop the Netflix Top 10 list as of this writing.)\u003c/p>\n\u003ch2>‘Holiday Touchdown: A Chiefs Love Story’\u003c/h2>\n\u003cfigure class=\"wp-block-embed is-type-video\">\u003c/figure>\n\u003cp>https://www.youtube.com/watch?v=syuN4M-wa9s\u003c/p>\n\u003cp>When Hallmark announced \u003cem>Holiday Touchdown: A Chiefs Love Story \u003c/em>(Nov. 30) over the summer, it seemed perfectly clear that its intent was to capitalize on the whole Taylor Swift-and-Travis Kelce thing. And don’t get me wrong: That’s true. (Donna Kelce has a cameo — although hilariously, she also has one in Hallmark’s \u003cem>Christmas on Call\u003c/em>, which takes place in Philadelphia. No favoritism for Mama Kelce!) \u003cem>Holiday Touchdown\u003c/em> was also made as a partnership with the team, much like Hallmark partnerships that have existed in the past with locations like Dollywood (\u003cem>\u003ca href=\"https://www.hallmarkchannel.com/christmas-at-dollywood\">Christmas at Dollywood\u003c/a>\u003c/em>), the Plaza Hotel (\u003cem>\u003ca href=\"https://www.hallmarkchannel.com/christmas-at-the-plaza/about-christmas-at-the-plaza\">Christmas at the Plaza\u003c/a>\u003c/em>) and the Biltmore Estate (\u003cem>\u003ca href=\"https://www.hallmarkchannel.com/a-biltmore-christmas\">A Biltmore Christmas\u003c/a>\u003c/em>).\u003c/p>\n\u003cp>[aside postid='arts_13921477']But \u003cem>Holiday Touchdown\u003c/em> is not directly inspired by the Travis/Taylor story. It’s about a woman (Hunter King) whose family is obsessed with the Kansas City Chiefs, and they’re being considered as part of the team’s Fan Of The Year contest. (… Sure.) She meets a guy (Tyler Hynes) who works for the team and becomes the family’s handler for the contest while also falling for her (an enormous conflict of interest, tssk). There’s a magic hat (sure!), there are many (many many) Kansas City cameos and references, and there is an avalanche of Chiefs branding. This one might be a B for regular Hallmark-ers, but it’s an A for Kansas City locals and anybody who’s ever shared a sports team obsession with people they love.\u003c/p>\n\u003cp>And here’s the twist! There \u003cem>is\u003c/em> a movie that looks directly Travis/Taylor inspired, and it’s over on Lifetime. Called \u003cem>\u003ca href=\"https://play.mylifetime.com/movies/christmas-in-the-spotlight/preview-christmas-in-the-spotlight\">Christmas in the Spotlight\u003c/a>\u003c/em>, it is about a pop megastar and a football player — he’s just not a Chiefs player. Glad we could clear this up.\u003c/p>\n\u003ch2>‘Our Little Secret’\u003c/h2>\n\u003cfigure class=\"wp-block-embed is-type-video\">\u003c/figure>\n\u003cp>https://www.youtube.com/watch?v=fcc9G9PXTEE\u003c/p>\n\u003cp>Lindsay Lohan was very charming in last year’s \u003ca href=\"https://www.kqed.org/arts/13921477/lindsay-lohan-christmas-movie-netflix-falling-for-christmas\">\u003cem>Falling for Christmas \u003c/em>\u003c/a>on Netflix; this year, she’s back with \u003cem>Our Little Secret\u003c/em>, in which she plays a woman who goes to spend the holidays with the family of her new boyfriend and runs into — dun! — her old boyfriend, who’s dating her new boyfriend’s sister. Kristin Chenoweth has the time of her life as the prospective mother-in-law, and Lindsay Lohan is, yet again, a durably charismatic lead who’s still got her comedy chops.\u003c/p>\n\u003ch2>Franchises and sequels\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=IO2Vov72T3Q\u003c/p>\n\u003cp>You may remember 2022’s \u003cem>Three Wise Men and a Baby\u003c/em>, starring three of Hallmark’s top leading men — Andrew Walker, Tyler Hynes and Paul Campbell, or as I admit I knew them for a long time while thoroughly enjoying their work, “that one guy,” “that other guy,” and “oh sure that guy.”\u003c/p>\n\u003cp>[aside postid='arts_13939153']They were brothers stuck caring for a baby over the holidays. Naturally, we now get the sequel titled \u003cem>Three Wiser Men and a Boy\u003c/em>. This is mostly a straight-up family comedy; it’s one of several Hallmark is doing this year that are not really romcoms even if they have romance elements. And, driven by the charm of the three leads, it’s a lot of fun. (These stories are co-written by Campbell and … Kimberley Sustad!)\u003c/p>\n\u003cp>As a side note, it’s been interesting to see Hallmark lean into the popularity of their male leads, who, for a long time, were treated as largely interchangeable partners for higher-profile actresses. They’re even airing a reality show this year called \u003cem>Finding Mr. Christmas\u003c/em>, hosted by Jonathan Bennett, in which men compete for a spot in a Hallmark movie called \u003cem>Happy Howlidays\u003c/em>\u003cem>,\u003c/em> which will then air on Dec. 21.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=j94E_7uwYPI\u003c/p>\n\u003cfigure class=\"wp-block-embed is-type-video\">\u003c/figure>\n\u003cp>Also up: BET+’s \u003cem>Brewster’s Millions: Christmas \u003c/em>(Dec. 5), a sequel about the niece of Montgomery Brewster, played by Richard Pryor in the 1985 movie. Perhaps not the sequel we were expecting this year, but hey — long waits before stories get picked up again are the norm at this point.\u003c/p>\n\u003cp>We should also note a momentous franchise retirement: Between 2018 and 2023, Hallmark made the loosely connected films \u003cem>Time for Me to Come Home for Christmas\u003c/em>, \u003cem>Time for You to Come Home for Christmas\u003c/em>, \u003cem>Time for Him to Come Home for Christmas\u003c/em>, \u003cem>Time for Her to Come Home for Christmas\u003c/em>, \u003cem>Time for Them to Come Home for Christmas\u003c/em>, and \u003cem>Time for Us to Come Home for Christmas\u003c/em>. Perhaps owing to their exhaustion of the most familiar personal pronouns, they have seemingly completed this series.\u003c/p>\n\u003ch2>What is that title?\u003c/h2>\n\u003cp>Sometimes, the most enjoyable part of previewing holiday movies is looking ahead to the titles that will quite understandably make you wonder whether you are hallucinating — and then assuring you that you are not. Here are some of my favorite titles of 2024.\u003c/p>\n\u003ch2>\u003cstrong>\u003cem>A Very Merry Beauty Salon\u003cbr>\n\u003c/em>\u003c/strong>\u003cspan style=\"font-size: 16px;font-weight: 400\">Lifetime, Dec. 7\u003c/span>\u003c/h2>\n\u003cp>Tia Mowry plays a salon owner who is preparing for a charity ball, and she meets a dashing wine CEO, and what’s not to like about that?\u003c/p>\n\u003ch2>\u003cstrong>\u003cem>The Holiday Junkie\u003cbr>\n\u003c/em>\u003c/strong>\u003cspan style=\"font-size: 16px;font-weight: 400\">Lifetime, Dec. 14\u003c/span>\u003c/h2>\n\u003cp>Jennifer Love Hewitt co-wrote, directed and stars in this story about a woman who works with her mother as a decorator with a special fondness for Christmas. After her mom dies, she meets a Grinchy man who can perhaps help her deal with grief and also kissing.\u003c/p>\n\u003ch2>\u003cstrong>\u003cem>A ’90s Christmas\u003cbr>\n\u003c/em>\u003c/strong>\u003cspan style=\"font-size: 16px;font-weight: 400\">Hallmark, Nov. 29\u003c/span>\u003c/h2>\n\u003cp>I am deeply wounded by the suggestion that the ’90s are ready for their nostalgia run (I know, I know, you don’t have to tell me how the math plays out), but here we are. This one is about a woman who seemingly goes back to 1999 with the help of … an enchanted Uber? (The description says “a mysterious rideshare experience.” I think that means “enchanted Uber.”)\u003c/p>\n\u003ch2>Fun with casting\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=91L4X-XNBzU\u003c/p>\n\u003cfigure class=\"wp-block-embed is-type-video\">\u003c/figure>\n\u003cp>\u003cem>Confessions of a Christmas Letter \u003c/em>(Hallmark) is about a mom played by Angela Kinsey (of \u003cem>The Office\u003c/em>) who loves her family very much but struggles with her desire to write a competitively braggy Christmas letter about them. Her ultimate goal? To impress the man at the post office who keeps a “Hall of Fame” of Christmas letters. He is played by Brian Baumgartner (who played Kevin on \u003cem>The Office\u003c/em>). So she hires a novelist to spend two weeks writing one for her (uh, I am AVAILABLE FOR THIS GIG). While sparks do fly between said novelist and her daughter, this movie is mostly about this woman’s efforts to accept her imperfect family Christmas as the one that’s perfect for them.\u003c/p>\n\u003cp>\u003cem>Holiday Mismatch \u003c/em>(Hallmark) features two moms who don’t get along, who accidentally set up their adult children and then have to try to get them to break up. The moms are played by Beth Broderick and Caroline Rhea, who spent years playing the two aunts on \u003cem>Sabrina The Teenage Witch\u003c/em>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=3n1GUmAhoTs\u003c/p>\n\u003cp>Something quite different: Jack Black’s holiday movie highlight up to this point might be, well, \u003cem>The Holiday\u003c/em>. But this season, on Paramount+, in \u003cem>Dear Santa\u003c/em>, he shows up as Satan (yep), after a kid’s misspelling accidentally summons the wrong higher power at Christmas. Also around for this one: Keegan-Michael Key and Post Malone. In some ways, it’s mostly surprising that Jack Black hasn’t played Satan before now.\u003c/p>\n\u003ch2>What about Hanukkah?\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=Tohd6NlQDXc\u003c/p>\n\u003cp>When the big purveyors of holiday movies do Hanukkah, the results can be mixed, to say the least. BUT. Hallmark made an excellent Hanukkah one last year called \u003cem>Round and Round\u003c/em>, so I have higher hopes for these entries than I used to. This year, Hallmark has two. One, called \u003cem>Leah’s Perfect Gift\u003c/em> (Dec. 8), is about a Jewish woman who loves Christmas (though she doesn’t celebrate it) and welcomes the chance to participate with her boyfriend’s family, only to find things are more complicated than they might seem. It sounds like a tough premise to get perfectly right, but also maybe like a chance for some interesting storytelling.\u003c/p>\n\u003cp>More straightforward-sounding is \u003cem>Hanukkah on the Rocks \u003c/em>(Dec. 13), in which a corporate lawyer ends up bartending for “quirky regulars” at a Chicago bar, goes on a quest for Hanukkah candles, and that’s about the size of that.\u003c/p>\n\u003ch2>Also of note\u003c/h2>\n\u003cp>Most Hallmark Christmas movies have until very recently had a pretty consistent soft-rom-com tone, but it feels like they’re starting to branch out a little. I enjoyed \u003cem>The Christmas Charade\u003c/em>, which is about a woman who gets wrapped up in a spy operation. It reminded me of ’80s shows I adored like \u003cem>Remington Steele\u003c/em>, where beautiful and well-dressed people have adventures while flirting. More of this, say I!\u003c/p>\n\u003cp>\u003cem>The 5-Year Christmas Party \u003c/em>(Hallmark) floats on the outstanding chemistry between Katie Findlay and Jordan Fisher, who play old friends who keep being tempted to make out all the time. It’s lovely and quite funny, and while I was watching this one, I had the thought: “It’s nice that women characters in Hallmark movies are sometimes allowed to have short hair now.”\u003c/p>\n\u003cfigure class=\"wp-block-embed is-type-video\">\u003c/figure>\n\u003cp>https://www.youtube.com/watch?v=6ooAi6la7xU\u003c/p>\n\u003cp>To say that Hallmark has a sketchy relationship with diversity is an understatement, but I liked \u003cem>Christmas with the Singhs\u003c/em>, which tries to engage with difference in a more straightforward way than their past TV movies. This one is about what it’s like to try to manage families with different holiday traditions when they’re joined by marriage.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=CdW5MdKk_-s\u003c/p>\n\u003cp>As a person with a long history of watching \u003cem>The Amazing Race\u003c/em>, I had a great time with \u003cem>Jingle Bell Run \u003c/em>(Hallmark), which follows two people thrown together on a team for what amounts to a Christmas-themed \u003cem>Amazing Race\u003c/em>. Obviously they fall in love, and it’s super-charming. It stars Ashley Williams and Andrew Walker, who are two of the bigger stars in the Hallmark firmament, and it even gently acknowledges once or twice that they’re getting older, which is very welcome. (I mean, it happens.)\u003c/p>\n\u003cp>[aside postid='arts_13922004']If you like Finland, or dogs, perhaps you’re up for \u003cem>The Finnish Line\u003c/em> (Hallmark, Dec. 1), which is about dogsledding. As a person who has parasocial relationships with many internet dogs, including some sled dogs, this spoke to me personally. (Although I don’t think its grasp on the realities of mushing is terribly firm.)\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>So grab a blanket, grab your cocoa, grab a snuggly person or pet or just your warmest sweater, and enjoy some of the standard and not-so-standard offerings of the holiday season.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As is tradition, we find ourselves once again in the heart of holiday movie season. This year’s installments include everything from a snowman who “comes to life,” shirtless Chad Michael Murray, Jack Black as Satan, and two Donna Kelce cameos. An exhaustive list would be prohibitive for both my editorial resources and your patience, but holiday movies are too dear to too many people to skip an update about what’s shaking in this particular glittery snow globe.\u003c/p>\n\u003cp>Here, we’ve broken down the highlights of the season, from the heavy-hitters to new franchise installments and goofy titles. There are casting surprises (like stars of \u003cem>The Office\u003c/em>), and Hanukkah movies on the way. Many of these TV movies are out as of Thanksgiving, but we’ve noted the premiere dates of those yet to come.\u003c/p>\n\u003cp>Let’s take a tour through some highlights.\u003c/p>\n\u003ch2>High-profile entries\u003c/h2>\n\u003cp>Every year, a few holiday TV movies poke their heads above the sea of films made for the die-hards — the people who can tell you off the tops of their heads exactly which frequent lead starred opposite Brandon Routh in \u003cem>The Nine Lives of Christmas\u003c/em> — and become known to the wider population.\u003c/p>\n\u003cp>(It was Kimberley Sustad, obviously. She’s not only been a great lead for Hallmark, but she’s now writing for them, too.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Here are a few that may reach you even if you are not a close follower of this space. They lean toward Netflix, simply because of its size and reach, as well as the fact that Netflix makes fewer movies and makes a bigger deal out of each of them than some of the other providers.\u003c/p>\n\u003ch2>‘Hot Frosty’\u003c/h2>\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/Dmi794YO-0w'\n title='//www.youtube.com/embed/Dmi794YO-0w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Social media may have given you the lowdown on \u003cem>Hot Frosty\u003c/em>, which ran for many days at the very top of Netflix’s list of hottest movies. But just in case: \u003cem>Hot Frosty \u003c/em>stars Lacey Chabert (of \u003cem>Party of Five\u003c/em>, \u003cem>Mean Girls\u003c/em>, and roughly 15 prior Christmas movies by my count) and Dustin Milligan (\u003cem>Schitt’s Creek\u003c/em>). She plays a woman who puts a magic scarf on a very realistic snowman who comes to life; he plays the “comes to life.”\u003c/p>\n\u003cp>What follows is a very, very silly — but fortunately self-aware — little comedy also starring Craig Robinson and Joe Lo Truglio (in a \u003cem>Brooklyn Nine-Nine\u003c/em> reunion) as local law enforcement. They are in pursuit of the snowman because they believe him to be a dangerous streaker. That’s right: a dangerous streaker. I mean, he did come to life without pants on.\u003c/p>\n\u003ch2>‘The Merry Gentlemen’\u003c/h2>\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/G80Q8-MJM1A'\n title='//www.youtube.com/embed/G80Q8-MJM1A'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cfigure class=\"wp-block-embed is-type-video\">\u003c/figure>\n\u003cp>Speaking of coming to life without pants on: I’ve always thought the holiday movie market needs more exotic dancers. Netflix comes through with \u003cem>The Merry Gentlemen\u003c/em>, in which Chad Michael Murray (of \u003cem>One Tree Hill\u003c/em>) and some other shirtless fellows save Christmas. He meets a woman, played by Britt Robertson, who wants desperately to save her parents’ struggling small music venue, The Rhythm Room (!).\u003c/p>\n\u003cp>She comes up with an idea: a PG-13 all-male revue featuring hot men she happens to know in her personal life. My favorite supporting Merry Gentleman: a local played by Maxwell Caulfield, who looked great in \u003cem>Grease 2 \u003c/em>when he was in his early 20s and looks great in this in his 60s. You go, Maxwell Caulfield. Don’t you let them touch your chest hair, either. (This, by the way, is the film that has dethroned \u003cem>Hot Frosty \u003c/em>atop the Netflix Top 10 list as of this writing.)\u003c/p>\n\u003ch2>‘Holiday Touchdown: A Chiefs Love Story’\u003c/h2>\n\u003cfigure class=\"wp-block-embed is-type-video\">\u003c/figure>\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/syuN4M-wa9s'\n title='//www.youtube.com/embed/syuN4M-wa9s'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>When Hallmark announced \u003cem>Holiday Touchdown: A Chiefs Love Story \u003c/em>(Nov. 30) over the summer, it seemed perfectly clear that its intent was to capitalize on the whole Taylor Swift-and-Travis Kelce thing. And don’t get me wrong: That’s true. (Donna Kelce has a cameo — although hilariously, she also has one in Hallmark’s \u003cem>Christmas on Call\u003c/em>, which takes place in Philadelphia. No favoritism for Mama Kelce!) \u003cem>Holiday Touchdown\u003c/em> was also made as a partnership with the team, much like Hallmark partnerships that have existed in the past with locations like Dollywood (\u003cem>\u003ca href=\"https://www.hallmarkchannel.com/christmas-at-dollywood\">Christmas at Dollywood\u003c/a>\u003c/em>), the Plaza Hotel (\u003cem>\u003ca href=\"https://www.hallmarkchannel.com/christmas-at-the-plaza/about-christmas-at-the-plaza\">Christmas at the Plaza\u003c/a>\u003c/em>) and the Biltmore Estate (\u003cem>\u003ca href=\"https://www.hallmarkchannel.com/a-biltmore-christmas\">A Biltmore Christmas\u003c/a>\u003c/em>).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But \u003cem>Holiday Touchdown\u003c/em> is not directly inspired by the Travis/Taylor story. It’s about a woman (Hunter King) whose family is obsessed with the Kansas City Chiefs, and they’re being considered as part of the team’s Fan Of The Year contest. (… Sure.) She meets a guy (Tyler Hynes) who works for the team and becomes the family’s handler for the contest while also falling for her (an enormous conflict of interest, tssk). There’s a magic hat (sure!), there are many (many many) Kansas City cameos and references, and there is an avalanche of Chiefs branding. This one might be a B for regular Hallmark-ers, but it’s an A for Kansas City locals and anybody who’s ever shared a sports team obsession with people they love.\u003c/p>\n\u003cp>And here’s the twist! There \u003cem>is\u003c/em> a movie that looks directly Travis/Taylor inspired, and it’s over on Lifetime. Called \u003cem>\u003ca href=\"https://play.mylifetime.com/movies/christmas-in-the-spotlight/preview-christmas-in-the-spotlight\">Christmas in the Spotlight\u003c/a>\u003c/em>, it is about a pop megastar and a football player — he’s just not a Chiefs player. Glad we could clear this up.\u003c/p>\n\u003ch2>‘Our Little Secret’\u003c/h2>\n\u003cfigure class=\"wp-block-embed is-type-video\">\u003c/figure>\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/fcc9G9PXTEE'\n title='//www.youtube.com/embed/fcc9G9PXTEE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Lindsay Lohan was very charming in last year’s \u003ca href=\"https://www.kqed.org/arts/13921477/lindsay-lohan-christmas-movie-netflix-falling-for-christmas\">\u003cem>Falling for Christmas \u003c/em>\u003c/a>on Netflix; this year, she’s back with \u003cem>Our Little Secret\u003c/em>, in which she plays a woman who goes to spend the holidays with the family of her new boyfriend and runs into — dun! — her old boyfriend, who’s dating her new boyfriend’s sister. Kristin Chenoweth has the time of her life as the prospective mother-in-law, and Lindsay Lohan is, yet again, a durably charismatic lead who’s still got her comedy chops.\u003c/p>\n\u003ch2>Franchises and sequels\u003c/h2>\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/IO2Vov72T3Q'\n title='//www.youtube.com/embed/IO2Vov72T3Q'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>You may remember 2022’s \u003cem>Three Wise Men and a Baby\u003c/em>, starring three of Hallmark’s top leading men — Andrew Walker, Tyler Hynes and Paul Campbell, or as I admit I knew them for a long time while thoroughly enjoying their work, “that one guy,” “that other guy,” and “oh sure that guy.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>They were brothers stuck caring for a baby over the holidays. Naturally, we now get the sequel titled \u003cem>Three Wiser Men and a Boy\u003c/em>. This is mostly a straight-up family comedy; it’s one of several Hallmark is doing this year that are not really romcoms even if they have romance elements. And, driven by the charm of the three leads, it’s a lot of fun. (These stories are co-written by Campbell and … Kimberley Sustad!)\u003c/p>\n\u003cp>As a side note, it’s been interesting to see Hallmark lean into the popularity of their male leads, who, for a long time, were treated as largely interchangeable partners for higher-profile actresses. They’re even airing a reality show this year called \u003cem>Finding Mr. Christmas\u003c/em>, hosted by Jonathan Bennett, in which men compete for a spot in a Hallmark movie called \u003cem>Happy Howlidays\u003c/em>\u003cem>,\u003c/em> which will then air on Dec. 21.\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/j94E_7uwYPI'\n title='//www.youtube.com/embed/j94E_7uwYPI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cfigure class=\"wp-block-embed is-type-video\">\u003c/figure>\n\u003cp>Also up: BET+’s \u003cem>Brewster’s Millions: Christmas \u003c/em>(Dec. 5), a sequel about the niece of Montgomery Brewster, played by Richard Pryor in the 1985 movie. Perhaps not the sequel we were expecting this year, but hey — long waits before stories get picked up again are the norm at this point.\u003c/p>\n\u003cp>We should also note a momentous franchise retirement: Between 2018 and 2023, Hallmark made the loosely connected films \u003cem>Time for Me to Come Home for Christmas\u003c/em>, \u003cem>Time for You to Come Home for Christmas\u003c/em>, \u003cem>Time for Him to Come Home for Christmas\u003c/em>, \u003cem>Time for Her to Come Home for Christmas\u003c/em>, \u003cem>Time for Them to Come Home for Christmas\u003c/em>, and \u003cem>Time for Us to Come Home for Christmas\u003c/em>. Perhaps owing to their exhaustion of the most familiar personal pronouns, they have seemingly completed this series.\u003c/p>\n\u003ch2>What is that title?\u003c/h2>\n\u003cp>Sometimes, the most enjoyable part of previewing holiday movies is looking ahead to the titles that will quite understandably make you wonder whether you are hallucinating — and then assuring you that you are not. Here are some of my favorite titles of 2024.\u003c/p>\n\u003ch2>\u003cstrong>\u003cem>A Very Merry Beauty Salon\u003cbr>\n\u003c/em>\u003c/strong>\u003cspan style=\"font-size: 16px;font-weight: 400\">Lifetime, Dec. 7\u003c/span>\u003c/h2>\n\u003cp>Tia Mowry plays a salon owner who is preparing for a charity ball, and she meets a dashing wine CEO, and what’s not to like about that?\u003c/p>\n\u003ch2>\u003cstrong>\u003cem>The Holiday Junkie\u003cbr>\n\u003c/em>\u003c/strong>\u003cspan style=\"font-size: 16px;font-weight: 400\">Lifetime, Dec. 14\u003c/span>\u003c/h2>\n\u003cp>Jennifer Love Hewitt co-wrote, directed and stars in this story about a woman who works with her mother as a decorator with a special fondness for Christmas. After her mom dies, she meets a Grinchy man who can perhaps help her deal with grief and also kissing.\u003c/p>\n\u003ch2>\u003cstrong>\u003cem>A ’90s Christmas\u003cbr>\n\u003c/em>\u003c/strong>\u003cspan style=\"font-size: 16px;font-weight: 400\">Hallmark, Nov. 29\u003c/span>\u003c/h2>\n\u003cp>I am deeply wounded by the suggestion that the ’90s are ready for their nostalgia run (I know, I know, you don’t have to tell me how the math plays out), but here we are. This one is about a woman who seemingly goes back to 1999 with the help of … an enchanted Uber? (The description says “a mysterious rideshare experience.” I think that means “enchanted Uber.”)\u003c/p>\n\u003ch2>Fun with casting\u003c/h2>\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/91L4X-XNBzU'\n title='//www.youtube.com/embed/91L4X-XNBzU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cfigure class=\"wp-block-embed is-type-video\">\u003c/figure>\n\u003cp>\u003cem>Confessions of a Christmas Letter \u003c/em>(Hallmark) is about a mom played by Angela Kinsey (of \u003cem>The Office\u003c/em>) who loves her family very much but struggles with her desire to write a competitively braggy Christmas letter about them. Her ultimate goal? To impress the man at the post office who keeps a “Hall of Fame” of Christmas letters. He is played by Brian Baumgartner (who played Kevin on \u003cem>The Office\u003c/em>). So she hires a novelist to spend two weeks writing one for her (uh, I am AVAILABLE FOR THIS GIG). While sparks do fly between said novelist and her daughter, this movie is mostly about this woman’s efforts to accept her imperfect family Christmas as the one that’s perfect for them.\u003c/p>\n\u003cp>\u003cem>Holiday Mismatch \u003c/em>(Hallmark) features two moms who don’t get along, who accidentally set up their adult children and then have to try to get them to break up. The moms are played by Beth Broderick and Caroline Rhea, who spent years playing the two aunts on \u003cem>Sabrina The Teenage Witch\u003c/em>.\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/3n1GUmAhoTs'\n title='//www.youtube.com/embed/3n1GUmAhoTs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Something quite different: Jack Black’s holiday movie highlight up to this point might be, well, \u003cem>The Holiday\u003c/em>. But this season, on Paramount+, in \u003cem>Dear Santa\u003c/em>, he shows up as Satan (yep), after a kid’s misspelling accidentally summons the wrong higher power at Christmas. Also around for this one: Keegan-Michael Key and Post Malone. In some ways, it’s mostly surprising that Jack Black hasn’t played Satan before now.\u003c/p>\n\u003ch2>What about Hanukkah?\u003c/h2>\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/Tohd6NlQDXc'\n title='//www.youtube.com/embed/Tohd6NlQDXc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>When the big purveyors of holiday movies do Hanukkah, the results can be mixed, to say the least. BUT. Hallmark made an excellent Hanukkah one last year called \u003cem>Round and Round\u003c/em>, so I have higher hopes for these entries than I used to. This year, Hallmark has two. One, called \u003cem>Leah’s Perfect Gift\u003c/em> (Dec. 8), is about a Jewish woman who loves Christmas (though she doesn’t celebrate it) and welcomes the chance to participate with her boyfriend’s family, only to find things are more complicated than they might seem. It sounds like a tough premise to get perfectly right, but also maybe like a chance for some interesting storytelling.\u003c/p>\n\u003cp>More straightforward-sounding is \u003cem>Hanukkah on the Rocks \u003c/em>(Dec. 13), in which a corporate lawyer ends up bartending for “quirky regulars” at a Chicago bar, goes on a quest for Hanukkah candles, and that’s about the size of that.\u003c/p>\n\u003ch2>Also of note\u003c/h2>\n\u003cp>Most Hallmark Christmas movies have until very recently had a pretty consistent soft-rom-com tone, but it feels like they’re starting to branch out a little. I enjoyed \u003cem>The Christmas Charade\u003c/em>, which is about a woman who gets wrapped up in a spy operation. It reminded me of ’80s shows I adored like \u003cem>Remington Steele\u003c/em>, where beautiful and well-dressed people have adventures while flirting. More of this, say I!\u003c/p>\n\u003cp>\u003cem>The 5-Year Christmas Party \u003c/em>(Hallmark) floats on the outstanding chemistry between Katie Findlay and Jordan Fisher, who play old friends who keep being tempted to make out all the time. It’s lovely and quite funny, and while I was watching this one, I had the thought: “It’s nice that women characters in Hallmark movies are sometimes allowed to have short hair now.”\u003c/p>\n\u003cfigure class=\"wp-block-embed is-type-video\">\u003c/figure>\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/6ooAi6la7xU'\n title='//www.youtube.com/embed/6ooAi6la7xU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>To say that Hallmark has a sketchy relationship with diversity is an understatement, but I liked \u003cem>Christmas with the Singhs\u003c/em>, which tries to engage with difference in a more straightforward way than their past TV movies. This one is about what it’s like to try to manage families with different holiday traditions when they’re joined by marriage.\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/CdW5MdKk_-s'\n title='//www.youtube.com/embed/CdW5MdKk_-s'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>As a person with a long history of watching \u003cem>The Amazing Race\u003c/em>, I had a great time with \u003cem>Jingle Bell Run \u003c/em>(Hallmark), which follows two people thrown together on a team for what amounts to a Christmas-themed \u003cem>Amazing Race\u003c/em>. Obviously they fall in love, and it’s super-charming. It stars Ashley Williams and Andrew Walker, who are two of the bigger stars in the Hallmark firmament, and it even gently acknowledges once or twice that they’re getting older, which is very welcome. (I mean, it happens.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>If you like Finland, or dogs, perhaps you’re up for \u003cem>The Finnish Line\u003c/em> (Hallmark, Dec. 1), which is about dogsledding. As a person who has parasocial relationships with many internet dogs, including some sled dogs, this spoke to me personally. (Although I don’t think its grasp on the realities of mushing is terribly firm.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>So grab a blanket, grab your cocoa, grab a snuggly person or pet or just your warmest sweater, and enjoy some of the standard and not-so-standard offerings of the holiday season.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Who doesn’t enjoy the unmistakable aroma of warm, buttery pretzels – you know the one – that delicious scent that stops you in your tracks at a mall, airport, or ballpark? But have you ever wondered about its peculiar shape? Or maybe where it came from and who invented it? Well, this twisted piece of delicious dough has been working its magic on humans for centuries and in this episode of Beyond the Menu we unravel the history of this delicious snack. From ancient Celtic fertility rites to Italian monks and prohibition movements here in the U.S., join us as we unravel centuries of pretzel lore that will make you appreciate this staple snack in a whole new way. And let’s just say there is nothing stale about this tale.\u003c/p>\n\u003cp>Subscribe to \u003ca href=\"https://www.youtube.com/@KQEDFood\" target=\"_blank\" rel=\"noopener\">KQED Food’s YouTube channel\u003c/a> to watch more Beyond The Menu videos.\u003c/p>\n\u003cp>Support for this program comes from Krishnan Shah Family Foundation and supporters of the KQED Studios Fund\u003c/p>\n\u003cp>Read More:\u003c/p>\n\u003cp>\u003ca href=\"https://squabisch.com/\">Squabisch\u003c/a>\u003cbr>\n\u003ca href=\"https://www.heinzelcheese.de/lesen/\">Ursula Heinzelmann\u003c/a>\u003cbr>\n\u003ca href=\"https://www.williamwoysweaverepicurewithhoe.com/\">Dr. William Woys Weaver\u003c/a>\u003cbr>\n\u003ca href=\"https://www.heinzhistorycenter.org/blog/western-pennsylvania-history-pretzels-and-prohibition/#_ednref1\">Leslie Przybylek\u003c/a>\u003cbr>\n\u003ca href=\"https://theconversation.com/how-the-pretzel-went-from-soft-to-hard-and-other-little-known-facts-about-one-of-the-worlds-favorite-snacks-95409\">Jeffrey Miller\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Who doesn’t enjoy the unmistakable aroma of warm, buttery pretzels – you know the one – that delicious scent that stops you in your tracks at a mall, airport, or ballpark? But have you ever wondered about its peculiar shape? Or maybe where it came from and who invented it? Well, this twisted piece of delicious dough has been working its magic on humans for centuries and in this episode of Beyond the Menu we unravel the history of this delicious snack. From ancient Celtic fertility rites to Italian monks and prohibition movements here in the U.S., join us as we unravel centuries of pretzel lore that will make you appreciate this staple snack in a whole new way. And let’s just say there is nothing stale about this tale.\u003c/p>\n\u003cp>Subscribe to \u003ca href=\"https://www.youtube.com/@KQEDFood\" target=\"_blank\" rel=\"noopener\">KQED Food’s YouTube channel\u003c/a> to watch more Beyond The Menu videos.\u003c/p>\n\u003cp>Support for this program comes from Krishnan Shah Family Foundation and supporters of the KQED Studios Fund\u003c/p>\n\u003cp>Read More:\u003c/p>\n\u003cp>\u003ca href=\"https://squabisch.com/\">Squabisch\u003c/a>\u003cbr>\n\u003ca href=\"https://www.heinzelcheese.de/lesen/\">Ursula Heinzelmann\u003c/a>\u003cbr>\n\u003ca href=\"https://www.williamwoysweaverepicurewithhoe.com/\">Dr. William Woys Weaver\u003c/a>\u003cbr>\n\u003ca href=\"https://www.heinzhistorycenter.org/blog/western-pennsylvania-history-pretzels-and-prohibition/#_ednref1\">Leslie Przybylek\u003c/a>\u003cbr>\n\u003ca href=\"https://theconversation.com/how-the-pretzel-went-from-soft-to-hard-and-other-little-known-facts-about-one-of-the-worlds-favorite-snacks-95409\">Jeffrey Miller\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003ca href=\"https://www.kqed.org/news/11936480/the-science-behind-hangovers\">Hangover\u003c/a> cures are a dime a dozen. Guzzle a few raw eggs. Take an aspirin before bed. Chug a beer in the morning.\u003c/p>\n\u003cp>These remedies promise to banish some of the nasty symptoms that can come with drinking way too much alcohol: headache, nausea, vertigo, anxiety — or all of the above.\u003c/p>\n\u003cp>[aside postid='arts_13968478']But is there truth to any of these claims? Unfortunately, no, says Dr. \u003ca href=\"https://www.uhhospitals.org/doctors/Marino-Ryan-1275948648\">Ryan Marino\u003c/a>, a medical toxicologist and an emergency physician at University Hospitals Cleveland Medical Center. “I wish there was some magic drink everyone could have, but there isn’t.”\u003c/p>\n\u003cp>The only surefire way to prevent a hangover is to abstain from drinking, he says. And once you have a hangover, the only thing that will get you over it is time.\u003c/p>\n\u003cp>If you plan to drink alcohol and want to reduce potential symptoms, practice moderation, he says. That means limiting your alcohol intake to one drink a day or less for women, and two drinks a day or less for men, according to the Department of Health and Human Services.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Experts break down the science behind six common hangover myths — and explain how alcohol affects your body.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13968713\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/lk-hangover-anxiety-harlan-19-scaled.jpeg\" alt=\"A black hip flask stands before a very dark shadow.\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/lk-hangover-anxiety-harlan-19-scaled.jpeg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/lk-hangover-anxiety-harlan-19-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/lk-hangover-anxiety-harlan-19-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/lk-hangover-anxiety-harlan-19-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/lk-hangover-anxiety-harlan-19-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/lk-hangover-anxiety-harlan-19-1536x1024.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/lk-hangover-anxiety-harlan-19-2048x1365.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/lk-hangover-anxiety-harlan-19-1920x1280.jpeg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003c/p>\n\u003ch2>Myth: All hangovers are the same.\u003c/h2>\n\u003cp>The symptoms and severity of your hangover — like your alcohol tolerance — depends on many factors, says Marino. That includes age, weight, gender, ethnicity, family history, nutritional status, smoker status, mood, health conditions or whether you’re taking any medications.\u003c/p>\n\u003cp>[aside postid='arts_13968491']“Your hangover is going to be different from everyone else you know,” he says. For example, while one person might experience headaches and vomiting after just one drink, another might throw back whiskey gingers all night and wake up feeling tired but otherwise unscathed.\u003c/p>\n\u003cp>In fact, some people may not experience any symptoms. According to \u003ca href=\"https://pmc.ncbi.nlm.nih.gov/articles/PMC6761819/#:~:text=A%20survey%20by%20Harburg%20and,least%20some%20of%20the%20time.\">one study\u003c/a>, about 25% of people who drink to intoxication don’t have hangovers at all.\u003c/p>\n\u003cp>The length of hangovers can also vary. They can last 24 hours or longer depending on how much you drank, according to the National Institute on Alcohol Abuse and Alcoholism.\u003c/p>\n\u003ch2>Myth: You can prevent a hangover by drinking water or using hydration supplements.\u003c/h2>\n\u003cp>Alcohol increases urine production, so it’s true that dehydration can often contribute to the hurt of a hangover.\u003c/p>\n\u003cp>But that’s only one symptom of over-imbibing, says Marino. Drinking can cause inflammation, gastrointestinal irritation, disrupted sleep and low blood sugar. It also exposes you to acetaldehyde, a toxic byproduct produced when your body metabolizes alcohol, that can damage your cells and tissues.\u003c/p>\n\u003cp>Don’t expect products like sports drinks, vitamin-infused patches or hydration packets to work any miracles before or after a night on the town, says Marino. While they may keep you hydrated, they likely won’t address any other hangover symptoms.\u003c/p>\n\u003cp>But drinking water or other hydrating beverages during a night out is still a good idea, he says. It can help you practice moderation and remind you to space out your drinks.\u003c/p>\n\u003ch2>Myth: A “hair of the dog” can stop a hangover in its tracks.\u003c/h2>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" src=\"https://npr.brightspotcdn.com/dims3/default/strip/false/crop/4500x3000+0+0/resize/1200/quality/75/format/jpeg/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2F33%2F26%2F232a5ac44ae7b97b7fef052c180e%2Flk-dry-january-newsletter-harlan-3.jpg\" alt=\"Some people say that that consuming another drink will cure your hangover. In reality, you're just delaying any negative symptoms that may arise when the alcohol leaves your system, says Dr. Ryan Marino, a medical toxicologist and an emergency physician. \">\u003cfigcaption>Some people say that that consuming another drink will cure your hangover. In reality, you’re just delaying any negative symptoms that may arise when the alcohol leaves your system, says \u003ca href=\"https://www.uhhospitals.org/doctors/Marino-Ryan-1275948648\">Dr. Ryan Marino\u003c/a>, a medical toxicologist and an emergency physician.\u003cbr>\n\u003ccite> (Photo illustration by Becky Harlan | NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Some people think that a “hair of the dog,” an alcoholic beverage consumed the morning after a night of heavy drinking, can help cure a hangover.\u003c/p>\n\u003cp>It may offer some temporary relief by raising your alcohol levels and masking symptoms like jitteriness or anxiety, says Marino. “But your hangover is just going to be pushed down the road.”\u003c/p>\n\u003cp>[aside postid='arts_13968257']A hangover can be a mild form of alcohol withdrawal, according to the NIAAA. Hangover symptoms peak — and likely, feel their worst — when the body’s blood alcohol concentration returns to zero.\u003c/p>\n\u003cp>Eventually, that bloody mary you had at brunch will leave your system, and you’ll have to deal with the aftermath. You’re not doing yourself any favors by piling on, says Marino.\u003c/p>\n\u003ch2>Myth: Beer before liquor, never been sicker. Liquor before beer, in the clear.\u003c/h2>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" src=\"https://npr.brightspotcdn.com/dims3/default/strip/false/crop/4500x3000+0+0/resize/1200/quality/75/format/jpeg/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2F66%2F5e%2Fb9fb39c04623a123ee7d74884404%2Flk-dry-january-newsletter-harlan-4-copy.jpg\" alt=\"The severity of your hangover does not depend on the order of drinks you consume, says Marino.\">\u003cfigcaption>The severity of your hangover does not depend on the order of drinks you consume, says Marino. \u003ccite> (Photo Illustration by Becky Harlan | NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Some people swear by this adage. But in general, it’s not the order of alcohol that determines the severity of your hangover, says Marino. It’s how much you consume.\u003c/p>\n\u003cp>You’re likely to drink more alcohol in a shorter amount of time if you kick off your night with hard liquor, he says. It makes you inebriated faster — and you may feel inclined to drink more than you would slowly sipping a beer.\u003c/p>\n\u003cp>Some kinds of liquors may make hangovers more unpleasant. According to research, dark liquors like bourbon and brandy contain higher levels of congeners, or the chemicals produced during the fermentation process that give an alcohol its distinctive taste, smell and color. Generally speaking, \u003ca href=\"https://pmc.ncbi.nlm.nih.gov/articles/PMC3674844/\">the more congeners an alcohol has, the worse the hangover is likely to be\u003c/a>.\u003c/p>\n\u003ch2>Myth: Taking painkillers before bed can help you get ahead of hangover symptoms.\u003c/h2>\n\u003cp>While it’s a common practice to reach for over-the-counter pain relievers to try and minimize your headache in the morning, Marino says you could potentially do a lot more harm than good.\u003c/p>\n\u003cp>[aside postid='arts_13968600']Consuming just one alcoholic drink a day with non-steroidal anti-inflammatory drugs like Advil, Aleve or aspirin can increase your risk of gastrointestinal bleeding by 37%, \u003ca href=\"https://www.niaaa.nih.gov/health-professionals-communities/core-resource-on-alcohol/alcohol-medication-interactions-potentially-dangerous-mixes#:~:text=Combining%20them%20with%20alcohol%20significantly%20increases%20the%20risk.&text=Consuming%20up%20to%201%20drink,over%2Dthe%2Dcounter%20analgesic.\">\u003cu>according to the NIAAA.\u003c/u>\u003c/a>\u003c/p>\n\u003cp>When you combine alcohol with drugs containing acetaminophen, like Tylenol, you run the risk of liver damage, according to the NIAAA. Ingesting too much of one or both substances can be toxic to the liver. For that reason, the Food and Drug Administration advises against drinking when taking any medicine that includes acetaminophen.\u003c/p>\n\u003cp>If you’re taking any type of medication, proceed with caution, says Marino. \u003cstrong>“\u003c/strong>Even if your medication doesn’t have a label that says ‘Do not take with alcohol’, that doesn’t mean you can’t be affected.”\u003c/p>\n\u003ch2>Myth: Hangover symptoms are physical.\u003c/h2>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" src=\"https://npr.brightspotcdn.com/dims3/default/strip/false/crop/4500x3000+0+0/resize/1200/quality/75/format/jpeg/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2F2b%2Fc3%2Fdf7ad02e432c9b7ebd346e6db046%2Flk-dry-january-newsletter-harlan-2.jpg\" alt=\"While alcohol can initially have a calming effect, for many people it has the opposite effect once it starts to leave your system, says Dr. Nzinga Harrison, a physician specializing in psychiatry and addiction medicine.\">\u003cfigcaption>While alcohol can initially have a calming effect, for many people it has the opposite effect once it starts to leave your system, says \u003ca href=\"https://www.nzingaharrisonmd.com/\">Dr. Nzinga Harrison\u003c/a>, a physician specializing in psychiatry and addiction medicine. \u003ccite> (Photo illustration by Becky Harlan | NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It can also affect your mental health. Drinking too much can make you feel overwhelmed, irritated or on edge. And there’s a term for it that’s been trending on social media: “hangxiety.”\u003c/p>\n\u003cp>While alcohol can initially have a calming effect, your body can rebound as it leaves your system, causing a surge in adrenaline, a racing heartbeat or feelings of worry or stress, says \u003ca href=\"https://www.nzingaharrisonmd.com/\">Dr. Nzinga Harrison\u003c/a>, a physician specializing in psychiatry and addiction medicine.\u003c/p>\n\u003cp>It’s a tricky symptom to identify. You can experience hangxiety after even just one drink, says Harrison. And “it can come before physical symptoms or without physical symptoms at all.”\u003c/p>\n\u003cp>[aside postid='arts_13968602']To combat hangxiety, Harrison suggests doing activities to bring down your adrenaline levels, like mindfulness and meditation, and bring up your dopamine — like spending time with friends and getting lots of sunshine.\u003c/p>\n\u003cp>And while the only way to fully prevent hangxiety and hangovers is to abstain from alcohol, she says it helps to go into social situations in the best possible headspace. Before you go to that party, drink water, eat well and make sure you’re surrounded by people who make you feel positive and connected.\u003c/p>\n\u003cp>“All of that biologically and psychologically may not prevent the hangxiety entirely, but will decrease the severity of the hangxiety,” says Harrison.\u003c/p>\n\u003cp>\u003cem>A quick note: If alcohol is causing you stress or harm, seek medical advice. There are a variety of treatments, including counseling, medications and support groups, to help people who want to end that dependency. This includes Alcoholics Anonymous, which has helped countless people. This \u003c/em>\u003ca href=\"https://alcoholtreatment.niaaa.nih.gov/\">\u003cem>\u003cu>NIAAA guide\u003c/u>\u003c/em>\u003c/a>\u003cem> can help you find a program that’s right for you.\u003c/em>\u003c/p>\n\u003chr>\n\u003cp>\u003cem>The digital story was edited by Malaka Gharib. The visual producer is Beck Harlan.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Want more Life Kit? Subscribe to our weekly newsletter and get expert advice on topics like money, relationships, health and more. \u003c/em>\u003ca href=\"https://www.npr.org/newsletter/life-kit\">\u003cem>Click here to subscribe now\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.kqed.org/news/11936480/the-science-behind-hangovers\">Hangover\u003c/a> cures are a dime a dozen. Guzzle a few raw eggs. Take an aspirin before bed. Chug a beer in the morning.\u003c/p>\n\u003cp>These remedies promise to banish some of the nasty symptoms that can come with drinking way too much alcohol: headache, nausea, vertigo, anxiety — or all of the above.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But is there truth to any of these claims? Unfortunately, no, says Dr. \u003ca href=\"https://www.uhhospitals.org/doctors/Marino-Ryan-1275948648\">Ryan Marino\u003c/a>, a medical toxicologist and an emergency physician at University Hospitals Cleveland Medical Center. “I wish there was some magic drink everyone could have, but there isn’t.”\u003c/p>\n\u003cp>The only surefire way to prevent a hangover is to abstain from drinking, he says. And once you have a hangover, the only thing that will get you over it is time.\u003c/p>\n\u003cp>If you plan to drink alcohol and want to reduce potential symptoms, practice moderation, he says. That means limiting your alcohol intake to one drink a day or less for women, and two drinks a day or less for men, according to the Department of Health and Human Services.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Experts break down the science behind six common hangover myths — and explain how alcohol affects your body.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13968713\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/lk-hangover-anxiety-harlan-19-scaled.jpeg\" alt=\"A black hip flask stands before a very dark shadow.\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/lk-hangover-anxiety-harlan-19-scaled.jpeg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/lk-hangover-anxiety-harlan-19-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/lk-hangover-anxiety-harlan-19-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/lk-hangover-anxiety-harlan-19-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/lk-hangover-anxiety-harlan-19-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/lk-hangover-anxiety-harlan-19-1536x1024.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/lk-hangover-anxiety-harlan-19-2048x1365.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/lk-hangover-anxiety-harlan-19-1920x1280.jpeg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003c/p>\n\u003ch2>Myth: All hangovers are the same.\u003c/h2>\n\u003cp>The symptoms and severity of your hangover — like your alcohol tolerance — depends on many factors, says Marino. That includes age, weight, gender, ethnicity, family history, nutritional status, smoker status, mood, health conditions or whether you’re taking any medications.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“Your hangover is going to be different from everyone else you know,” he says. For example, while one person might experience headaches and vomiting after just one drink, another might throw back whiskey gingers all night and wake up feeling tired but otherwise unscathed.\u003c/p>\n\u003cp>In fact, some people may not experience any symptoms. According to \u003ca href=\"https://pmc.ncbi.nlm.nih.gov/articles/PMC6761819/#:~:text=A%20survey%20by%20Harburg%20and,least%20some%20of%20the%20time.\">one study\u003c/a>, about 25% of people who drink to intoxication don’t have hangovers at all.\u003c/p>\n\u003cp>The length of hangovers can also vary. They can last 24 hours or longer depending on how much you drank, according to the National Institute on Alcohol Abuse and Alcoholism.\u003c/p>\n\u003ch2>Myth: You can prevent a hangover by drinking water or using hydration supplements.\u003c/h2>\n\u003cp>Alcohol increases urine production, so it’s true that dehydration can often contribute to the hurt of a hangover.\u003c/p>\n\u003cp>But that’s only one symptom of over-imbibing, says Marino. Drinking can cause inflammation, gastrointestinal irritation, disrupted sleep and low blood sugar. It also exposes you to acetaldehyde, a toxic byproduct produced when your body metabolizes alcohol, that can damage your cells and tissues.\u003c/p>\n\u003cp>Don’t expect products like sports drinks, vitamin-infused patches or hydration packets to work any miracles before or after a night on the town, says Marino. While they may keep you hydrated, they likely won’t address any other hangover symptoms.\u003c/p>\n\u003cp>But drinking water or other hydrating beverages during a night out is still a good idea, he says. It can help you practice moderation and remind you to space out your drinks.\u003c/p>\n\u003ch2>Myth: A “hair of the dog” can stop a hangover in its tracks.\u003c/h2>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" src=\"https://npr.brightspotcdn.com/dims3/default/strip/false/crop/4500x3000+0+0/resize/1200/quality/75/format/jpeg/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2F33%2F26%2F232a5ac44ae7b97b7fef052c180e%2Flk-dry-january-newsletter-harlan-3.jpg\" alt=\"Some people say that that consuming another drink will cure your hangover. In reality, you're just delaying any negative symptoms that may arise when the alcohol leaves your system, says Dr. Ryan Marino, a medical toxicologist and an emergency physician. \">\u003cfigcaption>Some people say that that consuming another drink will cure your hangover. In reality, you’re just delaying any negative symptoms that may arise when the alcohol leaves your system, says \u003ca href=\"https://www.uhhospitals.org/doctors/Marino-Ryan-1275948648\">Dr. Ryan Marino\u003c/a>, a medical toxicologist and an emergency physician.\u003cbr>\n\u003ccite> (Photo illustration by Becky Harlan | NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Some people think that a “hair of the dog,” an alcoholic beverage consumed the morning after a night of heavy drinking, can help cure a hangover.\u003c/p>\n\u003cp>It may offer some temporary relief by raising your alcohol levels and masking symptoms like jitteriness or anxiety, says Marino. “But your hangover is just going to be pushed down the road.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>A hangover can be a mild form of alcohol withdrawal, according to the NIAAA. Hangover symptoms peak — and likely, feel their worst — when the body’s blood alcohol concentration returns to zero.\u003c/p>\n\u003cp>Eventually, that bloody mary you had at brunch will leave your system, and you’ll have to deal with the aftermath. You’re not doing yourself any favors by piling on, says Marino.\u003c/p>\n\u003ch2>Myth: Beer before liquor, never been sicker. Liquor before beer, in the clear.\u003c/h2>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" src=\"https://npr.brightspotcdn.com/dims3/default/strip/false/crop/4500x3000+0+0/resize/1200/quality/75/format/jpeg/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2F66%2F5e%2Fb9fb39c04623a123ee7d74884404%2Flk-dry-january-newsletter-harlan-4-copy.jpg\" alt=\"The severity of your hangover does not depend on the order of drinks you consume, says Marino.\">\u003cfigcaption>The severity of your hangover does not depend on the order of drinks you consume, says Marino. \u003ccite> (Photo Illustration by Becky Harlan | NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Some people swear by this adage. But in general, it’s not the order of alcohol that determines the severity of your hangover, says Marino. It’s how much you consume.\u003c/p>\n\u003cp>You’re likely to drink more alcohol in a shorter amount of time if you kick off your night with hard liquor, he says. It makes you inebriated faster — and you may feel inclined to drink more than you would slowly sipping a beer.\u003c/p>\n\u003cp>Some kinds of liquors may make hangovers more unpleasant. According to research, dark liquors like bourbon and brandy contain higher levels of congeners, or the chemicals produced during the fermentation process that give an alcohol its distinctive taste, smell and color. Generally speaking, \u003ca href=\"https://pmc.ncbi.nlm.nih.gov/articles/PMC3674844/\">the more congeners an alcohol has, the worse the hangover is likely to be\u003c/a>.\u003c/p>\n\u003ch2>Myth: Taking painkillers before bed can help you get ahead of hangover symptoms.\u003c/h2>\n\u003cp>While it’s a common practice to reach for over-the-counter pain relievers to try and minimize your headache in the morning, Marino says you could potentially do a lot more harm than good.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Consuming just one alcoholic drink a day with non-steroidal anti-inflammatory drugs like Advil, Aleve or aspirin can increase your risk of gastrointestinal bleeding by 37%, \u003ca href=\"https://www.niaaa.nih.gov/health-professionals-communities/core-resource-on-alcohol/alcohol-medication-interactions-potentially-dangerous-mixes#:~:text=Combining%20them%20with%20alcohol%20significantly%20increases%20the%20risk.&text=Consuming%20up%20to%201%20drink,over%2Dthe%2Dcounter%20analgesic.\">\u003cu>according to the NIAAA.\u003c/u>\u003c/a>\u003c/p>\n\u003cp>When you combine alcohol with drugs containing acetaminophen, like Tylenol, you run the risk of liver damage, according to the NIAAA. Ingesting too much of one or both substances can be toxic to the liver. For that reason, the Food and Drug Administration advises against drinking when taking any medicine that includes acetaminophen.\u003c/p>\n\u003cp>If you’re taking any type of medication, proceed with caution, says Marino. \u003cstrong>“\u003c/strong>Even if your medication doesn’t have a label that says ‘Do not take with alcohol’, that doesn’t mean you can’t be affected.”\u003c/p>\n\u003ch2>Myth: Hangover symptoms are physical.\u003c/h2>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" src=\"https://npr.brightspotcdn.com/dims3/default/strip/false/crop/4500x3000+0+0/resize/1200/quality/75/format/jpeg/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2F2b%2Fc3%2Fdf7ad02e432c9b7ebd346e6db046%2Flk-dry-january-newsletter-harlan-2.jpg\" alt=\"While alcohol can initially have a calming effect, for many people it has the opposite effect once it starts to leave your system, says Dr. Nzinga Harrison, a physician specializing in psychiatry and addiction medicine.\">\u003cfigcaption>While alcohol can initially have a calming effect, for many people it has the opposite effect once it starts to leave your system, says \u003ca href=\"https://www.nzingaharrisonmd.com/\">Dr. Nzinga Harrison\u003c/a>, a physician specializing in psychiatry and addiction medicine. \u003ccite> (Photo illustration by Becky Harlan | NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It can also affect your mental health. Drinking too much can make you feel overwhelmed, irritated or on edge. And there’s a term for it that’s been trending on social media: “hangxiety.”\u003c/p>\n\u003cp>While alcohol can initially have a calming effect, your body can rebound as it leaves your system, causing a surge in adrenaline, a racing heartbeat or feelings of worry or stress, says \u003ca href=\"https://www.nzingaharrisonmd.com/\">Dr. Nzinga Harrison\u003c/a>, a physician specializing in psychiatry and addiction medicine.\u003c/p>\n\u003cp>It’s a tricky symptom to identify. You can experience hangxiety after even just one drink, says Harrison. And “it can come before physical symptoms or without physical symptoms at all.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>To combat hangxiety, Harrison suggests doing activities to bring down your adrenaline levels, like mindfulness and meditation, and bring up your dopamine — like spending time with friends and getting lots of sunshine.\u003c/p>\n\u003cp>And while the only way to fully prevent hangxiety and hangovers is to abstain from alcohol, she says it helps to go into social situations in the best possible headspace. Before you go to that party, drink water, eat well and make sure you’re surrounded by people who make you feel positive and connected.\u003c/p>\n\u003cp>“All of that biologically and psychologically may not prevent the hangxiety entirely, but will decrease the severity of the hangxiety,” says Harrison.\u003c/p>\n\u003cp>\u003cem>A quick note: If alcohol is causing you stress or harm, seek medical advice. There are a variety of treatments, including counseling, medications and support groups, to help people who want to end that dependency. This includes Alcoholics Anonymous, which has helped countless people. This \u003c/em>\u003ca href=\"https://alcoholtreatment.niaaa.nih.gov/\">\u003cem>\u003cu>NIAAA guide\u003c/u>\u003c/em>\u003c/a>\u003cem> can help you find a program that’s right for you.\u003c/em>\u003c/p>\n\u003chr>\n\u003cp>\u003cem>The digital story was edited by Malaka Gharib. The visual producer is Beck Harlan.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Want more Life Kit? Subscribe to our weekly newsletter and get expert advice on topics like money, relationships, health and more. \u003c/em>\u003ca href=\"https://www.npr.org/newsletter/life-kit\">\u003cem>Click here to subscribe now\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>If you have an avid cook or food lover in your life, your gifting opportunities these days are vast and deep. There are authentic ingredients and creative concoctions in brick-and-mortar shops and online. The global pantry beckons. Plus, in many cases, the packaging is gorgeous!\u003c/p>\n\u003cp>Many of these affordable luxuries can be tucked into a stocking, but they also make great presents for a co-worker, mail carrier, nephew or teacher. As a slightly compulsive and obsessive gift giver, matching the right edible treat to the recipient is my jam (another great gifting option!).\u003c/p>\n\u003cp>All of these items cost under $50, but make a big splash.\u003c/p>\n\u003cp>Let’s go!\u003c/p>\n\u003ch2>Ah, nuts\u003c/h2>\n\u003cp>Two Chinese American friends took the flavors of their favorite childhood treats and transformed them into sweet spreads, ready to be slathered on toast, apples or just eaten with a spoon. Rooted Fare sells spreads like Crunchy Black Sesame Butter (inspired by tang yuan, a Lunar New Year dessert ), Pineapple Cake Cashew Butter, and Chinese Almond Cookie Butter. $15 per jar.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Il Colle del Gusto makes some sweet and unusual nut-based spreads with an Italian twist: Coarse Hazelnut and Cocoa, Crunchy Peanut, and Sicilian Pistachio, all blended with olive oil. Swirl them into ice cream, slather them onto toast. Each jar under $10.\u003c/p>\n\u003cp>Related: Sesame lovers will be delighted with either an assortment of tahini products such as Chocolate Sesame Sauce, or a tub of flaky, melt-in-your-mouth halva in flavors like cardamom and pistachio from Seed + Mill. Some great gift sets available for under $50.\u003c/p>\n\u003ch2>The crunchiest\u003c/h2>\n\u003cfigure id=\"attachment_13968674\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968674\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/fly-by.png\" alt=\"A gift box and several jars sit on top of a white marble surface.\" width=\"2000\" height=\"1361\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/fly-by.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/fly-by-800x544.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/fly-by-1020x694.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/fly-by-160x109.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/fly-by-768x523.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/fly-by-1536x1045.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/fly-by-1920x1307.png 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A variety of chili crunch products. \u003ccite>(Katie Workman via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Chile crunch condiments have taken the cooking world by storm, and there are some highly giftable options.\u003c/p>\n\u003cp>Fly By Jing makes a large assortment of Asian-inspired chile crunches, and they have some attractively packaged gift sets for the holidays. The mini sampler set is around $20.\u003c/p>\n\u003cp>The aptly named Chile Crunch sells several varieties of their crunchy condiment, including hot, chipotle, mild and original, all for about $13 per jar.\u003c/p>\n\u003cp>Somos’ Salsa Macha Mexican Chili Crisps explode with texture thanks to a whole lot of nuts and seeds. Scoop these spicy-crunchy sauces over everything from avocado toast to tacos — and try the sweeter one on ice cream! The gift set of two comes with a cute spoon for $35.\u003c/p>\n\u003ch2>Feeling saucy\u003c/h2>\n\u003cp>Chef Patricia Quintana has created a line of salsas, sauces, dressings and condiments that preserves the heritage of traditional Mexican cooking. Treat someone to a jar of Achiote sauce or Pineapple Habanero Salsa (and hope you get invited over for the ensuing meal). $15 to $20 per jar.\u003c/p>\n\u003cp>Ever heard of Secret Aardvark sauces? You might be tempted to spread the word. This Caribbean/Tex-Mex line of condiments has a big following for what they call their “flavor that kicks you in the mouth.” There are many choices, including Drunken Jerk Jamaican Marinade, and Aardvark Habanero Hot Sauce. $10 each, with combo packs starting at $20.\u003c/p>\n\u003ch2>Something fishy\u003c/h2>\n\u003cfigure id=\"attachment_13968675\" class=\"wp-caption aligncenter\" style=\"max-width: 1854px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968675\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/fish.png\" alt=\"\" width=\"1854\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/fish.png 1854w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/fish-800x863.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/fish-1020x1100.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/fish-160x173.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/fish-768x828.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/fish-1424x1536.png 1424w\" sizes=\"(max-width: 1854px) 100vw, 1854px\">\u003cfigcaption class=\"wp-caption-text\">A variety of tinned fish. \u003ccite>(Katie Workman via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Tinned fish is also having a blockbuster culinary moment (and in many cases the packaging is super fun). Fishwife cans ethically sourced fish, like salmon, anchovies and trout, from around the world, with some attractive gift boxes under $50.\u003c/p>\n\u003cp>La Narval focuses on combinations of fish and sauce, such as their mussels in Spanish sauce. Each tin is about $10.\u003c/p>\n\u003ch2>Just a nibble\u003c/h2>\n\u003cp>The Drinks Bakery creates savory snacks with flavor profiles meant to match up perfectly with your favorite libations. Munch on a Lancashire Cheese and Spring Onion biscuit with a hoppy IPA or a sauvignon blanc. Serve the Parmesan, Toasted Pine Nut and Basil biscuits with a whiskey highball or champagne. Choose from small or larger boxes.\u003c/p>\n\u003ch2>Oil and vinegar\u003c/h2>\n\u003cfigure id=\"attachment_13968676\" class=\"wp-caption aligncenter\" style=\"max-width: 1764px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968676\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/oil.png\" alt=\"\" width=\"1764\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/oil.png 1764w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/oil-800x907.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/oil-1020x1156.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/oil-160x181.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/oil-768x871.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/oil-1355x1536.png 1355w\" sizes=\"(max-width: 1764px) 100vw, 1764px\">\u003cfigcaption class=\"wp-caption-text\">A selection of oils and vinegars. \u003ccite>(Katie Workman via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I can’t think of a food gift I’m happier to see than a high-quality bottle of oil or vinegar, two of the most-used ingredients in my kitchen. Bona Fortuna’s selection of Sicilian olive oils is fresh and fragrant, and their aged balsamic vinegars are thick, sweet and rich. The Invecchiato 7-Year Aged Balsamic Vinegar of Modena, for instance, sells for $44.95; Forte Extra Virgin Olive Oil from $10.95 to $39.95.\u003c/p>\n\u003cp>Metafora olive oil comes in a beautiful bottle and is a nice introduction to Portuguese olive oil. $40.\u003c/p>\n\u003cp>Alvear makes lovely Andalusian sherry vinegars. For the salad makers and Spanish chefs in your life, think about gifting one each of the bottles, a sweet and a dry, about $20 a pop.\u003c/p>\n\u003ch2>Fancy pants\u003c/h2>\n\u003cp>Tartuflanghe makes all sorts of luxury ingredients infused with white and black truffles. Elevate your cooking game with truffle-infused butters with flavors like porcini or anchovy (about $10 each). Pick up a box of decadent, truffle-flavored Tartufissima 19 for $32. Or how about a little jar of black truffle pearls, which look like caviar, and are the most elegant way to finish off a risotto or a deviled egg ($40)?\u003c/p>\n\u003ch2>Sweet delicacies\u003c/h2>\n\u003cfigure id=\"attachment_13968672\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968672\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/sanders.png\" alt=\"\" width=\"2000\" height=\"1353\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/sanders.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/sanders-800x541.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/sanders-1020x690.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/sanders-160x108.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/sanders-768x520.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/sanders-1536x1039.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/sanders-1920x1299.png 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Two bags of sea salt caramels from Sanders. \u003ccite>(Katie Workman via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>’Tis the season for sweet things, but there’s no need to settle for the same old bonbons.\u003c/p>\n\u003cp>Sanders is known for decadent, chocolate-covered caramels, and this holiday season they have some limited-edition flavors. Do you know someone who might like a bag of bourbon, maple or peppermint dark-chocolate sea-salt caramels? I do! $10.\u003c/p>\n\u003cp>Perhaps you’ve seen the elegant Lady M layered crepe cakes? Well this holiday, try their more portable and giftable Holiday Crepe Biscuit Collection. Eight wedge-shaped boxes contain a delicate crepe biscuit with fillings such as vanilla, chocolate hazelnut and green tea. $28.\u003c/p>\n\u003cp>André’s Confiserie Suisse makes handmade chocolate with deep rich flavor, a result of generations of Swiss chocolate-making expertise. Some unusual classics include the Nussbergerli Sticks, a mix of caramel, candied orange peel and nuts, covered in either dark or milk chocolate, as well as a lovely assortment of chocolate-covered almonds. Also check out the festive, almond-stuffed chocolate pinecones, a cute edible ornament. Offerings start at $7.\u003c/p>\n\u003cp>There are chocolate bars and then there are chocolate bars. At Chocopologie, it’s hard to decide among the creative confections. Burnt Caramel Hawaiian Sea Salt? A S’Mores Bar that includes organic graham crackers and vegan marshmallows? At $10 each, you might need to buy a few.\u003c/p>\n\u003cp>The bakers you know will love playing around with the Salted Caramel Crumbles from Kitty Keller. These toffee-like crumbles are made from the butter and salted caramel of Brittany, France, and can be used to finish all kinds of sweet treats with a crunchy little panache. $12.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>I could go on (quite clearly), but suffice it to say that a little special treat can have a big impact. Those stockings aren’t going to stuff themselves!\u003c/p>\n\n",
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"headline": "Small, Luxury Foods Under $50 Are Great as Stocking Stuffers or Other Gifts",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you have an avid cook or food lover in your life, your gifting opportunities these days are vast and deep. There are authentic ingredients and creative concoctions in brick-and-mortar shops and online. The global pantry beckons. Plus, in many cases, the packaging is gorgeous!\u003c/p>\n\u003cp>Many of these affordable luxuries can be tucked into a stocking, but they also make great presents for a co-worker, mail carrier, nephew or teacher. As a slightly compulsive and obsessive gift giver, matching the right edible treat to the recipient is my jam (another great gifting option!).\u003c/p>\n\u003cp>All of these items cost under $50, but make a big splash.\u003c/p>\n\u003cp>Let’s go!\u003c/p>\n\u003ch2>Ah, nuts\u003c/h2>\n\u003cp>Two Chinese American friends took the flavors of their favorite childhood treats and transformed them into sweet spreads, ready to be slathered on toast, apples or just eaten with a spoon. Rooted Fare sells spreads like Crunchy Black Sesame Butter (inspired by tang yuan, a Lunar New Year dessert ), Pineapple Cake Cashew Butter, and Chinese Almond Cookie Butter. $15 per jar.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Il Colle del Gusto makes some sweet and unusual nut-based spreads with an Italian twist: Coarse Hazelnut and Cocoa, Crunchy Peanut, and Sicilian Pistachio, all blended with olive oil. Swirl them into ice cream, slather them onto toast. Each jar under $10.\u003c/p>\n\u003cp>Related: Sesame lovers will be delighted with either an assortment of tahini products such as Chocolate Sesame Sauce, or a tub of flaky, melt-in-your-mouth halva in flavors like cardamom and pistachio from Seed + Mill. Some great gift sets available for under $50.\u003c/p>\n\u003ch2>The crunchiest\u003c/h2>\n\u003cfigure id=\"attachment_13968674\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968674\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/fly-by.png\" alt=\"A gift box and several jars sit on top of a white marble surface.\" width=\"2000\" height=\"1361\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/fly-by.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/fly-by-800x544.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/fly-by-1020x694.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/fly-by-160x109.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/fly-by-768x523.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/fly-by-1536x1045.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/fly-by-1920x1307.png 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A variety of chili crunch products. \u003ccite>(Katie Workman via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Chile crunch condiments have taken the cooking world by storm, and there are some highly giftable options.\u003c/p>\n\u003cp>Fly By Jing makes a large assortment of Asian-inspired chile crunches, and they have some attractively packaged gift sets for the holidays. The mini sampler set is around $20.\u003c/p>\n\u003cp>The aptly named Chile Crunch sells several varieties of their crunchy condiment, including hot, chipotle, mild and original, all for about $13 per jar.\u003c/p>\n\u003cp>Somos’ Salsa Macha Mexican Chili Crisps explode with texture thanks to a whole lot of nuts and seeds. Scoop these spicy-crunchy sauces over everything from avocado toast to tacos — and try the sweeter one on ice cream! The gift set of two comes with a cute spoon for $35.\u003c/p>\n\u003ch2>Feeling saucy\u003c/h2>\n\u003cp>Chef Patricia Quintana has created a line of salsas, sauces, dressings and condiments that preserves the heritage of traditional Mexican cooking. Treat someone to a jar of Achiote sauce or Pineapple Habanero Salsa (and hope you get invited over for the ensuing meal). $15 to $20 per jar.\u003c/p>\n\u003cp>Ever heard of Secret Aardvark sauces? You might be tempted to spread the word. This Caribbean/Tex-Mex line of condiments has a big following for what they call their “flavor that kicks you in the mouth.” There are many choices, including Drunken Jerk Jamaican Marinade, and Aardvark Habanero Hot Sauce. $10 each, with combo packs starting at $20.\u003c/p>\n\u003ch2>Something fishy\u003c/h2>\n\u003cfigure id=\"attachment_13968675\" class=\"wp-caption aligncenter\" style=\"max-width: 1854px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968675\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/fish.png\" alt=\"\" width=\"1854\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/fish.png 1854w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/fish-800x863.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/fish-1020x1100.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/fish-160x173.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/fish-768x828.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/fish-1424x1536.png 1424w\" sizes=\"(max-width: 1854px) 100vw, 1854px\">\u003cfigcaption class=\"wp-caption-text\">A variety of tinned fish. \u003ccite>(Katie Workman via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Tinned fish is also having a blockbuster culinary moment (and in many cases the packaging is super fun). Fishwife cans ethically sourced fish, like salmon, anchovies and trout, from around the world, with some attractive gift boxes under $50.\u003c/p>\n\u003cp>La Narval focuses on combinations of fish and sauce, such as their mussels in Spanish sauce. Each tin is about $10.\u003c/p>\n\u003ch2>Just a nibble\u003c/h2>\n\u003cp>The Drinks Bakery creates savory snacks with flavor profiles meant to match up perfectly with your favorite libations. Munch on a Lancashire Cheese and Spring Onion biscuit with a hoppy IPA or a sauvignon blanc. Serve the Parmesan, Toasted Pine Nut and Basil biscuits with a whiskey highball or champagne. Choose from small or larger boxes.\u003c/p>\n\u003ch2>Oil and vinegar\u003c/h2>\n\u003cfigure id=\"attachment_13968676\" class=\"wp-caption aligncenter\" style=\"max-width: 1764px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968676\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/oil.png\" alt=\"\" width=\"1764\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/oil.png 1764w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/oil-800x907.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/oil-1020x1156.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/oil-160x181.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/oil-768x871.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/oil-1355x1536.png 1355w\" sizes=\"(max-width: 1764px) 100vw, 1764px\">\u003cfigcaption class=\"wp-caption-text\">A selection of oils and vinegars. \u003ccite>(Katie Workman via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I can’t think of a food gift I’m happier to see than a high-quality bottle of oil or vinegar, two of the most-used ingredients in my kitchen. Bona Fortuna’s selection of Sicilian olive oils is fresh and fragrant, and their aged balsamic vinegars are thick, sweet and rich. The Invecchiato 7-Year Aged Balsamic Vinegar of Modena, for instance, sells for $44.95; Forte Extra Virgin Olive Oil from $10.95 to $39.95.\u003c/p>\n\u003cp>Metafora olive oil comes in a beautiful bottle and is a nice introduction to Portuguese olive oil. $40.\u003c/p>\n\u003cp>Alvear makes lovely Andalusian sherry vinegars. For the salad makers and Spanish chefs in your life, think about gifting one each of the bottles, a sweet and a dry, about $20 a pop.\u003c/p>\n\u003ch2>Fancy pants\u003c/h2>\n\u003cp>Tartuflanghe makes all sorts of luxury ingredients infused with white and black truffles. Elevate your cooking game with truffle-infused butters with flavors like porcini or anchovy (about $10 each). Pick up a box of decadent, truffle-flavored Tartufissima 19 for $32. Or how about a little jar of black truffle pearls, which look like caviar, and are the most elegant way to finish off a risotto or a deviled egg ($40)?\u003c/p>\n\u003ch2>Sweet delicacies\u003c/h2>\n\u003cfigure id=\"attachment_13968672\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968672\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/sanders.png\" alt=\"\" width=\"2000\" height=\"1353\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/sanders.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/sanders-800x541.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/sanders-1020x690.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/sanders-160x108.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/sanders-768x520.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/sanders-1536x1039.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/sanders-1920x1299.png 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Two bags of sea salt caramels from Sanders. \u003ccite>(Katie Workman via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>’Tis the season for sweet things, but there’s no need to settle for the same old bonbons.\u003c/p>\n\u003cp>Sanders is known for decadent, chocolate-covered caramels, and this holiday season they have some limited-edition flavors. Do you know someone who might like a bag of bourbon, maple or peppermint dark-chocolate sea-salt caramels? I do! $10.\u003c/p>\n\u003cp>Perhaps you’ve seen the elegant Lady M layered crepe cakes? Well this holiday, try their more portable and giftable Holiday Crepe Biscuit Collection. Eight wedge-shaped boxes contain a delicate crepe biscuit with fillings such as vanilla, chocolate hazelnut and green tea. $28.\u003c/p>\n\u003cp>André’s Confiserie Suisse makes handmade chocolate with deep rich flavor, a result of generations of Swiss chocolate-making expertise. Some unusual classics include the Nussbergerli Sticks, a mix of caramel, candied orange peel and nuts, covered in either dark or milk chocolate, as well as a lovely assortment of chocolate-covered almonds. Also check out the festive, almond-stuffed chocolate pinecones, a cute edible ornament. Offerings start at $7.\u003c/p>\n\u003cp>There are chocolate bars and then there are chocolate bars. At Chocopologie, it’s hard to decide among the creative confections. Burnt Caramel Hawaiian Sea Salt? A S’Mores Bar that includes organic graham crackers and vegan marshmallows? At $10 each, you might need to buy a few.\u003c/p>\n\u003cp>The bakers you know will love playing around with the Salted Caramel Crumbles from Kitty Keller. These toffee-like crumbles are made from the butter and salted caramel of Brittany, France, and can be used to finish all kinds of sweet treats with a crunchy little panache. $12.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I could go on (quite clearly), but suffice it to say that a little special treat can have a big impact. Those stockings aren’t going to stuff themselves!\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Saafir, Inventive and Dextrous Oakland Rapper, Dies at 54",
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"content": "\u003cp>Saafir, the raspy-voiced Oakland rapper who infused the rhythms of avant-garde jazz into his rhymes, died on Tuesday morning, according to family. He was 54.\u003c/p>\n\u003cp>A joint \u003ca href=\"https://www.instagram.com/p/DCj_iNlS5aE/\">Instagram post\u003c/a> by the rapper Xzibit and Saafir’s son explained that the rapper born Reggie Gibson died at 8:45 a.m., surrounded by friends and family.\u003c/p>\n\u003cp>“We surrounded him and let him know how much we loved him,” the post read. “He can rest now.”\u003c/p>\n\u003cp>No cause of death was announced. Saafir had long struggled with complications from a spinal surgery and other health problems.\u003c/p>\n\u003cfigure id=\"attachment_13968341\" class=\"wp-caption aligncenter\" style=\"max-width: 1122px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968341\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Saafir.jpg\" alt=\"\" width=\"1122\" height=\"1244\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Saafir.jpg 1122w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Saafir-800x887.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Saafir-1020x1131.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Saafir-160x177.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Saafir-768x852.jpg 768w\" sizes=\"(max-width: 1122px) 100vw, 1122px\">\u003cfigcaption class=\"wp-caption-text\">Saafir.\u003c/figcaption>\u003c/figure>\n\u003cp>With his early 1990s hip-hop group Hobo Junction, Saafir made a name for himself as a lyrically dextrous and inventive rapper with a distinct, guttural style. He is remembered by hip-hop fans nationwide, and especially in the Bay Area, for incandescently propelling a \u003ca href=\"https://www.kqed.org/arts/13924170/the-bay-area-rap-battle-heard-round-the-world\">legendary 1994 on-air freestyle battle\u003c/a> between his Hobo Junction crew and fellow East Bay collective Hieroglyphics that lasted more than 40 minutes.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Saafir spent his early teenage years in and out of group homes in Oakland, with at least one stint in jail. Inspired by early rappers like Too Short and LL Cool J, he began writing raps and developing a cadence that frequently avoided the downbeat.\u003c/p>\n\u003cp>While working with \u003ca href=\"https://www.kqed.org/arts/tag/digital-underground\">Digital Underground\u003c/a>, Saafir was onetime roommates with \u003ca href=\"https://www.kqed.org/arts/tag/tupac-shakur\">Tupac Shakur\u003c/a>, who introduced the West Oakland-bred young talent to Hollywood movie directors Albert and Allen Hughes. Saafir appeared in their 1993 film \u003cem>Menace II Society\u003c/em> as the character cousin Harold.\u003c/p>\n\u003cp>Before long, Saafir was offered a major record deal from music industry titan Quincy Jones. The resulting album, \u003cem>Boxcar Sessions\u003c/em>, bridged the dynamism of jazz innovators like Eric Dolphy and Andrew Hill with the streetwise sounds and themes of crack-era Oakland. To celebrate its release, Saafir performed a \u003ca href=\"https://www.youtube.com/watch?v=ww82T3UmSEU\">free show\u003c/a> in front of Leopold’s Records, just off Telegraph Avenue in Berkeley, where Hobo Junction first began selling underground tapes.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=lfQWH8QsNjA\u003c/p>\n\u003cp>Only a handful of albums followed. In 2013, on the blog of hip-hop historian Davey D, Shock G from Digital Underground explained Saafir’s absence from the scene in a \u003ca href=\"https://hiphopandpolitics.com/2013/02/12/shock-g-of-digital-underground-explains-why-saafir-is-bound-to-a-wheelchair/\">sprawling list of accidents, afflictions and obstacles\u003c/a> that went viral among diehard fans. Saafir later clarified parts of Shock G’s recollection in an interview with the \u003ca href=\"https://sfbgarchive.48hills.org/sfbgarchive/2013/03/27/reality-rap-qa-saafir-saucee-nomad/\">\u003cem>San Francisco Bay Guardian\u003c/em>\u003c/a>, where he detailed the challenges of navigating the healthcare system.\u003c/p>\n\u003cp>[aside postID='arts_13924170']Saafir, who used a wheelchair after his spinal surgery, made very few public appearances over the past 15 years. He often made an exception, however, for \u003ca href=\"https://www.kqed.org/arts/13863999/dream-day-2019-celebrating-mike-dream-franciscos-50th-birthday\">Dream Day\u003c/a> — an annual tribute to his late friend and graffiti artist \u003ca href=\"https://www.kqed.org/arts/10141391/dream-but-dont-sleep-remembering-mike-dream-francisco\">Mike “Dream” Francisco\u003c/a>. In 2014, he appeared onstage in San Francisco to perform his hit “Light Sleeper,” supported by the show’s headliner and his former battle nemesis from Hieroglyphics, Casual.\u003c/p>\n\u003cp>Though their famous freestyle battle hosted by Sway on KMEL’s \u003cem>The Wake Up Show\u003c/em> painted Saafir and Casual as enemies in the public imagination, the two retained their respect for each other.\u003c/p>\n\u003cp>In a short documentary, \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=QC7OtfYxDaQ\">The Battle\u003c/a>\u003c/em>, Saafir commended Casual: “You really brought out the best. You made me wanna be a monster, and I respect it.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Saafir is survived by a son — the rapper known as Lil Saafir — and a brother. No services have yet been announced.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Saafir, the raspy-voiced Oakland rapper who infused the rhythms of avant-garde jazz into his rhymes, died on Tuesday morning, according to family. He was 54.\u003c/p>\n\u003cp>A joint \u003ca href=\"https://www.instagram.com/p/DCj_iNlS5aE/\">Instagram post\u003c/a> by the rapper Xzibit and Saafir’s son explained that the rapper born Reggie Gibson died at 8:45 a.m., surrounded by friends and family.\u003c/p>\n\u003cp>“We surrounded him and let him know how much we loved him,” the post read. “He can rest now.”\u003c/p>\n\u003cp>No cause of death was announced. Saafir had long struggled with complications from a spinal surgery and other health problems.\u003c/p>\n\u003cfigure id=\"attachment_13968341\" class=\"wp-caption aligncenter\" style=\"max-width: 1122px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968341\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Saafir.jpg\" alt=\"\" width=\"1122\" height=\"1244\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Saafir.jpg 1122w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Saafir-800x887.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Saafir-1020x1131.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Saafir-160x177.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Saafir-768x852.jpg 768w\" sizes=\"(max-width: 1122px) 100vw, 1122px\">\u003cfigcaption class=\"wp-caption-text\">Saafir.\u003c/figcaption>\u003c/figure>\n\u003cp>With his early 1990s hip-hop group Hobo Junction, Saafir made a name for himself as a lyrically dextrous and inventive rapper with a distinct, guttural style. He is remembered by hip-hop fans nationwide, and especially in the Bay Area, for incandescently propelling a \u003ca href=\"https://www.kqed.org/arts/13924170/the-bay-area-rap-battle-heard-round-the-world\">legendary 1994 on-air freestyle battle\u003c/a> between his Hobo Junction crew and fellow East Bay collective Hieroglyphics that lasted more than 40 minutes.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Saafir spent his early teenage years in and out of group homes in Oakland, with at least one stint in jail. Inspired by early rappers like Too Short and LL Cool J, he began writing raps and developing a cadence that frequently avoided the downbeat.\u003c/p>\n\u003cp>While working with \u003ca href=\"https://www.kqed.org/arts/tag/digital-underground\">Digital Underground\u003c/a>, Saafir was onetime roommates with \u003ca href=\"https://www.kqed.org/arts/tag/tupac-shakur\">Tupac Shakur\u003c/a>, who introduced the West Oakland-bred young talent to Hollywood movie directors Albert and Allen Hughes. Saafir appeared in their 1993 film \u003cem>Menace II Society\u003c/em> as the character cousin Harold.\u003c/p>\n\u003cp>Before long, Saafir was offered a major record deal from music industry titan Quincy Jones. The resulting album, \u003cem>Boxcar Sessions\u003c/em>, bridged the dynamism of jazz innovators like Eric Dolphy and Andrew Hill with the streetwise sounds and themes of crack-era Oakland. To celebrate its release, Saafir performed a \u003ca href=\"https://www.youtube.com/watch?v=ww82T3UmSEU\">free show\u003c/a> in front of Leopold’s Records, just off Telegraph Avenue in Berkeley, where Hobo Junction first began selling underground tapes.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/lfQWH8QsNjA'\n title='//www.youtube.com/embed/lfQWH8QsNjA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Only a handful of albums followed. In 2013, on the blog of hip-hop historian Davey D, Shock G from Digital Underground explained Saafir’s absence from the scene in a \u003ca href=\"https://hiphopandpolitics.com/2013/02/12/shock-g-of-digital-underground-explains-why-saafir-is-bound-to-a-wheelchair/\">sprawling list of accidents, afflictions and obstacles\u003c/a> that went viral among diehard fans. Saafir later clarified parts of Shock G’s recollection in an interview with the \u003ca href=\"https://sfbgarchive.48hills.org/sfbgarchive/2013/03/27/reality-rap-qa-saafir-saucee-nomad/\">\u003cem>San Francisco Bay Guardian\u003c/em>\u003c/a>, where he detailed the challenges of navigating the healthcare system.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Saafir, who used a wheelchair after his spinal surgery, made very few public appearances over the past 15 years. He often made an exception, however, for \u003ca href=\"https://www.kqed.org/arts/13863999/dream-day-2019-celebrating-mike-dream-franciscos-50th-birthday\">Dream Day\u003c/a> — an annual tribute to his late friend and graffiti artist \u003ca href=\"https://www.kqed.org/arts/10141391/dream-but-dont-sleep-remembering-mike-dream-francisco\">Mike “Dream” Francisco\u003c/a>. In 2014, he appeared onstage in San Francisco to perform his hit “Light Sleeper,” supported by the show’s headliner and his former battle nemesis from Hieroglyphics, Casual.\u003c/p>\n\u003cp>Though their famous freestyle battle hosted by Sway on KMEL’s \u003cem>The Wake Up Show\u003c/em> painted Saafir and Casual as enemies in the public imagination, the two retained their respect for each other.\u003c/p>\n\u003cp>In a short documentary, \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=QC7OtfYxDaQ\">The Battle\u003c/a>\u003c/em>, Saafir commended Casual: “You really brought out the best. You made me wanna be a monster, and I respect it.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Saafir is survived by a son — the rapper known as Lil Saafir — and a brother. No services have yet been announced.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "How Kev Choice Made Room for Hip-Hop in Classical Music",
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"content": "\u003cp>\u003ci>This story is part of The California Report Magazine’s series about \u003ca href=\"https://www.kqed.org/news/tag/california-composers\">California composers\u003c/a>. Listen to this and more in-depth storytelling by \u003ca href=\"http://itunes.apple.com/us/podcast/the-california-report-magazine/id1314750545?mt=2\" target=\"_blank\" rel=\"noopener noreferrer\">subscribing\u003c/a> to The California Report Magazine podcast.\u003c/i>\u003c/p>\n\u003cp>It’s a Wednesday morning in \u003ca href=\"https://www.instagram.com/kevchoice/?hl=en\">Kev Choice\u003c/a>’s studio, tucked away in the back of an industrial warehouse in East Oakland. The small, dark-purple room looks something like a wizard’s lair out of a fantasy novel, with tall, epic columns and dark curtains.\u003c/p>\n\u003cp>The Kev Choice Ensemble is rehearsing for a conference that’s bringing 2,000 activists, artists and academics from across the nation to Oakland to discuss topics like the Indigenous Land Back movement and Palestinian liberation. Choice sits at his keyboard, rapping about the painful legacy of slavery before affirming the power of everyday people to make change. As his jazz band grooves, they alchemize devastation into hope.\u003c/p>\n\u003cp>“What I try to bring is the purpose, the intention, of the message, and uplift the issues while giving people encouragement,” he says. “[I try] to create an environment where we can just have fun and be free and enjoy together for a moment in time, before we get back to the work.”\u003c/p>\n\u003cp>Choice speaks with the ease of someone who knows who he is and owns it, but it took him decades to move comfortably between his roots in hip-hop culture, his love of jazz and his classical training. Classical music used to turn its nose up at hip-hop. But in recent years orchestras have begun looking to collaborate with rappers to appeal to younger, more diverse audiences — basically, to stay relevant in the 21st century.\u003c/p>\n\u003cp>Now, the world is finally catching up to the forward-thinking vision Kev Choice has had for decades.\u003c/p>\n\u003cp>https://youtu.be/RMQbdElhnEo?si=itDr1mRXyofFuwJE\u003c/p>\n\u003ch2>Navigating separate musical worlds\u003c/h2>\n\u003cp>For Choice, breaking boundaries wasn’t easy — and not just musical boundaries, but those of race, class and culture. Growing up in Oakland in the ’80s and ’90s, he began writing rhymes and studying piano seriously in middle school. Even back then, he knew he’d have to compartmentalize his two worlds.\u003c/p>\n\u003cp>“I couldn’t talk to any of my teachers about hip-hop or making beats. They had no connection to that,” he says. “And then my hip-hop friends would kind of tease me about playing the piano.”\u003c/p>\n\u003cfigure id=\"attachment_13967710\" class=\"wp-caption aligncenter\" style=\"max-width: 960px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967710\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/60325271_10155974893232027_2182473221847121920_n.jpg\" alt=\"\" width=\"960\" height=\"540\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/60325271_10155974893232027_2182473221847121920_n.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/60325271_10155974893232027_2182473221847121920_n-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/60325271_10155974893232027_2182473221847121920_n-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/60325271_10155974893232027_2182473221847121920_n-768x432.jpg 768w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003cfigcaption class=\"wp-caption-text\">Kev Choice at his graduation from Xavier University in 1998. \u003ccite>(Courtesy of Kev Choice)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Still, Choice was undeterred: He excelled in high school orchestra and big band, and continued to rap and make beats after school. After nailing an audition at Xavier University, an HBCU in New Orleans, he got a full scholarship on the spot to study piano performance in the birthplace of jazz. Afterwards, he took off to Southern Illinois University for his master’s degree.\u003c/p>\n\u003cp>Choice excelled in classical piano, but he couldn’t see himself going the traditional orchestral route.\u003c/p>\n\u003cp>“Number one, because of the lack of diversity in that world,” he says. “It just seemed like it was such a narrow opportunity for a young African American pianist who wasn’t a prodigy at age four.” [ad fullwidth]\u003c/p>\n\u003ch2>An international tour with Michael Franti\u003c/h2>\n\u003cp>After grad school, Choice decided it was time to return to his roots. In 2000, he moved back to Oakland with the ambition of becoming a rap star. It was a fertile time for Bay Area hip-hop. Artists like E-40 and Too Short had already reached major-label success in years prior. Alternative hip-hop artists like \u003ca href=\"https://www.kqed.org/arts/13927692/del-funky-homosapien-no-need-for-alarm-30-years-anniversary\">Deltron 3030\u003c/a> were also making waves.\u003c/p>\n\u003cfigure id=\"attachment_13967711\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967711\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_4260-scaled-e1730831891144.jpg\" alt=\"A photocopied flyer reads: "88 Keys to the Mind, Body and Soul. A classical graduate piano recital presented by Kevin Choice. Most sought after pianist for campus occasions. Live you've never seen him before!!!!!!!!!!!! All the way live!!!!!!!!!!!! A must see for music lovers!!!!!!!!! This brotha is real!!!!!!!!"\" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_4260-scaled-e1730831891144.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_4260-scaled-e1730831891144-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_4260-scaled-e1730831891144-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_4260-scaled-e1730831891144-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_4260-scaled-e1730831891144-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_4260-scaled-e1730831891144-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_4260-scaled-e1730831891144-1536x2048.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The flyer for Kev Choice’s graduation recital at Southern Illinois University. \u003ccite>(Courtesy of Kev Choice)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While working on his own music, Choice would also regularly pop up behind the keys at jam sessions, open mics or really anywhere there was a piano. Calls for auditions started coming, and he got hired to join Michael Franti and Spearhead on an international tour.\u003c/p>\n\u003cp>Franti had come out of the Bay Area’s underground hip-hop scene, and he attracted a global fan base with his fusion of hip-hop, reggae and funk. The opportunity expanded Choice’s world.\u003c/p>\n\u003cp>“Being a kid from Oakland and, you know, to be walking down the street in Switzerland or France or Belgium,” he reflects, “it blew my mind on what the world looked like and the connection of people to music as well. Like, how strong that was.”\u003c/p>\n\u003cp>The tour pushed Choice to grow his skillset — he had to trade his sheet music and piano for playing by ear on an electric keyboard. He had his own ambitions as a solo artist. But word got out after the Spearhead tour, and he became an in-demand sideman. In the years that followed, he went on the road with alternative and conscious hip-hop artists like Zion I and Lyrics Born.\u003c/p>\n\u003ch2>Around the world with Lauryn Hill\u003c/h2>\n\u003cp>In 2006, Choice got the opportunity of a lifetime: performing with Lauryn Hill. He even worked with her on a demo for a track that became “\u003ca href=\"https://youtu.be/kUvtyBW0Q_A?si=d3791VyTs2p4UAWJ\">Lose Myself\u003c/a>.” (It was featured on the soundtrack of \u003cem>Surf’s Up\u003c/em>, a 2007 animated film about surfing penguins.)\u003c/p>\n\u003cfigure id=\"attachment_13967716\" class=\"wp-caption aligncenter\" style=\"max-width: 768px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967716\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/kev-choice-and-lauryn-hill.jpg\" alt=\"\" width=\"768\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/kev-choice-and-lauryn-hill.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/kev-choice-and-lauryn-hill-160x200.jpg 160w\" sizes=\"(max-width: 768px) 100vw, 768px\">\u003cfigcaption class=\"wp-caption-text\">Kev Choice and Lauryn Hill on tour in 2006. \u003ccite>(Courtesy of Kev Choice)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Choice says their collaboration came together in a complete whirlwind. One day he got a call to meet Hill at an Emeryville studio. She was one of his idols, so of course, he said yes. It turned out to be an audition.\u003c/p>\n\u003cp>As she started playing her guitar, he began playing along on his keyboard.\u003c/p>\n\u003cp>“I think the other guys were, like, just confused,” he says, laughing. “They were like, what the hell is going on?”\u003c/p>\n\u003cp>Afterwards, Choice got another call: Could he put a band together for her? He scrambled, calling everyone he knew. Before long he was the musical director of an all-Bay Area band that accompanied Hill to shows in Hawaii, Japan and Brazil.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=OPjcgZPGAq8\u003c/p>\n\u003cp>On tour, Choice was inspired by the way Hill carried herself, how she charted her own path and defied expectations.\u003c/p>\n\u003cp>“It gave me the courage that I could achieve anything in this industry,” he says.\u003c/p>\n\u003ch2>Giving it his all as a solo artist\u003c/h2>\n\u003cp>Choice came back to Oakland fired up. He was ready to dedicate himself to his own music, wholeheartedly. It paid off in 2014 when he came out with an album that made waves: \u003ca href=\"https://kevchoice.bandcamp.com/album/oakland-riviera\">\u003cem>Oakland Riviera\u003c/em>\u003c/a>. With lyrics addressing racial injustice, healing and Oakland pride, the project’s elaborate, propulsive instrumentation has a funky, jazzy Afrofuturist vibe.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=aJoftyUh8a0\u003c/p>\n\u003cp>At this point, Choice had cemented his reputation in hip-hop and jazz. And after \u003cem>Oakland Riviera\u003c/em>, he got the chance to show the world what he could do with his classical training. The opportunity arrived thanks to \u003ca href=\"https://www.kqed.org/arts/13901635/michael-morgan-visionary-oakland-symphony-conductor-dies-at-age-63\">Michael Morgan\u003c/a>, the late music director of the Oakland Symphony, who passed away in 2021.\u003c/p>\n\u003cp>Morgan was one of the nation’s few Black leaders of a major orchestra — and Choice had looked up to him since high school. When they met at a Recording Academy mixer, it turned out the maestro was already familiar with the younger man’s work. He invited Choice to compose his first piece for a full orchestra: 2018’s \u003cem>Soul Restoration Suite\u003c/em>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Tiv9_GovdHY\u003c/p>\n\u003cp>The five-movement piece took that blend of hip-hop, classical and jazz that Choice had been trying to pull off for decades, and brought it to the next level. Choice conceptualized it as a love letter to Oakland through all of its struggles and triumphs. The first movement tells the story of the Spanish conquest of the area’s Ohlone inhabitants, and Choice’s words flow over lush orchestration.\u003c/p>\n\u003cp>Before this, Choice had composed for quartets and smaller ensembles, but he had never written for a full orchestra before. In Morgan, he found an open-minded mentor who took hip-hop seriously as an art form and appreciated Choice’s personal voice.\u003c/p>\n\u003cp>“I feel like he just kept encouraging me to take what I do as a band director, as a musician, as a hip-hop artist, and use the orchestra to enhance it,” he says. “And keep my original style. Like, don’t try to write like Beethoven. Don’t try to do Stravinsky, do your original music. But using the orchestra as another palette or as more colors to enhance.”\u003c/p>\n\u003cfigure id=\"attachment_13964203\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13964203\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240912-KEVCHOICE-08-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240912-KEVCHOICE-08-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240912-KEVCHOICE-08-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240912-KEVCHOICE-08-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240912-KEVCHOICE-08-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240912-KEVCHOICE-08-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240912-KEVCHOICE-08-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240912-KEVCHOICE-08-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Kev Choice plays the piano at his studio in Oakland on Sept. 12, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Morgan had charted a path for Choice and so many others. He used his position and influence to create more space for Black musicians to be themselves in a largely white and notoriously elitist industry.\u003c/p>\n\u003cp>Today, Choice sits on the Oakland Symphony’s board, and he’s made it his mission to create opportunities for the next generation. In fact, if you drive past the intersection of 51st Street and Shattuck Avenue in North Oakland, you’ll see Choice and Michael Morgan in a mural together, looking hopefully out at a starry sky.\u003c/p>\n\u003cp>Like his mentor, who championed public music education, Choice spent nearly eight years teaching at Oakland School for the Arts. Today, he continues to serve the community in the music education program Elevate Oakland.\u003c/p>\n\u003cfigure id=\"attachment_13967779\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967779\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/kev-choice-mural-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/kev-choice-mural-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/kev-choice-mural-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/kev-choice-mural-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/kev-choice-mural-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/kev-choice-mural-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/kev-choice-mural-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/kev-choice-mural-2048x1152.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/kev-choice-mural-1920x1080.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">An Oakland mural by Hungry Ghost Studio features Michael Morgan (center left) and Kev Choice (center right). \u003ccite>(Nastia Voynovskaya/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A singular vision emerges\u003c/h2>\n\u003cp>Back at Choice’s rehearsal space, I chat with saxophonist \u003ca href=\"https://www.ayobrame.com/\">Ayo Brame\u003c/a>.\u003c/p>\n\u003cp>“Kev is definitely the reason I’m a musician today,” he says.\u003c/p>\n\u003cp>Brame is one of Choice’s former students. At only 17 years old, he’s already headlined two sold-out shows at the jazz club Yoshi’s. He says it’s Choice’s versatility that inspires him.\u003c/p>\n\u003cp>“It shows how important that skillset is to know all genres of music and not be like, I don’t play classical or I don’t play rock music,” Brame adds. “He knows all of it. So yeah definitely, that’s one of my inspirations.”\u003c/p>\n\u003cp>These days, Choice might be busy with community work, but he hasn’t lost sight of his own music. His 2024 EP, \u003ca href=\"https://open.spotify.com/album/2WoxdPZgSbsJ6lVlgCGBJe\">\u003cem>All My Love\u003c/em>\u003c/a>, is the clearest distillation yet of his personal voice and vision.\u003c/p>\n\u003cp>It’s a vulnerable project that takes stock of how he’s shown up in relationships over the years. It examines his personal growth and maturation as a man.\u003c/p>\n\u003cp>The project culminates in the bittersweet song “Congratulations.”\u003c/p>\n\u003cp>https://youtu.be/52eYIEiDLXw?si=eK08m1l0u9QtBx4Z\u003c/p>\n\u003cp>Choice raps over moving piano arrangements, accompanied by a string quartet, harp and upright bass. In the lyrics, he speaks to an ex who is now getting married.\u003c/p>\n\u003cp>He’s happy for her and a little regretful, looking back at what went wrong and what could have been.\u003c/p>\n\u003cp>At his piano, Choice breaks down how his arrangements underscore the emotion of the track.\u003c/p>\n\u003cp>“Whenever I play ninth chords or minor chords, sometimes it can be dark. Some people say it may be very sad,” he says. “But I almost feel like it’s more sentimental. I’m thinking about what I was going through. And that chord really offers a lot of space to me for reflection.”\u003c/p>\n\u003cp>As I listen to him play, it’s hard not to feel an appreciation for the complicated beauty of the life lessons all of us go through.\u003c/p>\n\u003cp>Choice says \u003cem>All My Love\u003c/em> is just a teaser for a full-length project that’ll come out later this year. He also recently accepted a position as a tenure-track music professor at San Francisco State University. Over two decades into his career as a musician, educator and community advocate, Choice is finally getting the recognition he deserves.\u003c/p>\n\u003cp>“I feel like as a hip hop artist, I’m always trying to grow, try to get more expressive, try to stay relevant,” Choice affirms. “I don’t want my sound to ever get stale or not continue to evolve.”\u003c/p>\n\u003cp>That growth mindset has been a theme in Choice’s career since the very beginning, and it’s propelled so much more than his personal evolution. The hundreds of students he’s taught, and the countless audience members who’ve seen him live, have left with a little piece of his vision: to look beyond arbitrary boundaries, to come together and to better ourselves and our communities through art.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "The pianist and MC, who's worked with Lauryn Hill and the Oakland Symphony, tells his barrier-breaking story.",
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"title": "How Kev Choice Made Room for Hip-Hop in Classical Music | KQED",
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"headline": "How Kev Choice Made Room for Hip-Hop in Classical Music",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>This story is part of The California Report Magazine’s series about \u003ca href=\"https://www.kqed.org/news/tag/california-composers\">California composers\u003c/a>. Listen to this and more in-depth storytelling by \u003ca href=\"http://itunes.apple.com/us/podcast/the-california-report-magazine/id1314750545?mt=2\" target=\"_blank\" rel=\"noopener noreferrer\">subscribing\u003c/a> to The California Report Magazine podcast.\u003c/i>\u003c/p>\n\u003cp>It’s a Wednesday morning in \u003ca href=\"https://www.instagram.com/kevchoice/?hl=en\">Kev Choice\u003c/a>’s studio, tucked away in the back of an industrial warehouse in East Oakland. The small, dark-purple room looks something like a wizard’s lair out of a fantasy novel, with tall, epic columns and dark curtains.\u003c/p>\n\u003cp>The Kev Choice Ensemble is rehearsing for a conference that’s bringing 2,000 activists, artists and academics from across the nation to Oakland to discuss topics like the Indigenous Land Back movement and Palestinian liberation. Choice sits at his keyboard, rapping about the painful legacy of slavery before affirming the power of everyday people to make change. As his jazz band grooves, they alchemize devastation into hope.\u003c/p>\n\u003cp>“What I try to bring is the purpose, the intention, of the message, and uplift the issues while giving people encouragement,” he says. “[I try] to create an environment where we can just have fun and be free and enjoy together for a moment in time, before we get back to the work.”\u003c/p>\n\u003cp>Choice speaks with the ease of someone who knows who he is and owns it, but it took him decades to move comfortably between his roots in hip-hop culture, his love of jazz and his classical training. Classical music used to turn its nose up at hip-hop. But in recent years orchestras have begun looking to collaborate with rappers to appeal to younger, more diverse audiences — basically, to stay relevant in the 21st century.\u003c/p>\n\u003cp>Now, the world is finally catching up to the forward-thinking vision Kev Choice has had for decades.\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/RMQbdElhnEo'\n title='//www.youtube.com/embed/RMQbdElhnEo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>Navigating separate musical worlds\u003c/h2>\n\u003cp>For Choice, breaking boundaries wasn’t easy — and not just musical boundaries, but those of race, class and culture. Growing up in Oakland in the ’80s and ’90s, he began writing rhymes and studying piano seriously in middle school. Even back then, he knew he’d have to compartmentalize his two worlds.\u003c/p>\n\u003cp>“I couldn’t talk to any of my teachers about hip-hop or making beats. They had no connection to that,” he says. “And then my hip-hop friends would kind of tease me about playing the piano.”\u003c/p>\n\u003cfigure id=\"attachment_13967710\" class=\"wp-caption aligncenter\" style=\"max-width: 960px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967710\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/60325271_10155974893232027_2182473221847121920_n.jpg\" alt=\"\" width=\"960\" height=\"540\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/60325271_10155974893232027_2182473221847121920_n.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/60325271_10155974893232027_2182473221847121920_n-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/60325271_10155974893232027_2182473221847121920_n-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/60325271_10155974893232027_2182473221847121920_n-768x432.jpg 768w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003cfigcaption class=\"wp-caption-text\">Kev Choice at his graduation from Xavier University in 1998. \u003ccite>(Courtesy of Kev Choice)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Still, Choice was undeterred: He excelled in high school orchestra and big band, and continued to rap and make beats after school. After nailing an audition at Xavier University, an HBCU in New Orleans, he got a full scholarship on the spot to study piano performance in the birthplace of jazz. Afterwards, he took off to Southern Illinois University for his master’s degree.\u003c/p>\n\u003cp>Choice excelled in classical piano, but he couldn’t see himself going the traditional orchestral route.\u003c/p>\n\u003cp>“Number one, because of the lack of diversity in that world,” he says. “It just seemed like it was such a narrow opportunity for a young African American pianist who wasn’t a prodigy at age four.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003ch2>An international tour with Michael Franti\u003c/h2>\n\u003cp>After grad school, Choice decided it was time to return to his roots. In 2000, he moved back to Oakland with the ambition of becoming a rap star. It was a fertile time for Bay Area hip-hop. Artists like E-40 and Too Short had already reached major-label success in years prior. Alternative hip-hop artists like \u003ca href=\"https://www.kqed.org/arts/13927692/del-funky-homosapien-no-need-for-alarm-30-years-anniversary\">Deltron 3030\u003c/a> were also making waves.\u003c/p>\n\u003cfigure id=\"attachment_13967711\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967711\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_4260-scaled-e1730831891144.jpg\" alt=\"A photocopied flyer reads: "88 Keys to the Mind, Body and Soul. A classical graduate piano recital presented by Kevin Choice. Most sought after pianist for campus occasions. Live you've never seen him before!!!!!!!!!!!! All the way live!!!!!!!!!!!! A must see for music lovers!!!!!!!!! This brotha is real!!!!!!!!"\" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_4260-scaled-e1730831891144.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_4260-scaled-e1730831891144-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_4260-scaled-e1730831891144-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_4260-scaled-e1730831891144-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_4260-scaled-e1730831891144-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_4260-scaled-e1730831891144-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_4260-scaled-e1730831891144-1536x2048.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The flyer for Kev Choice’s graduation recital at Southern Illinois University. \u003ccite>(Courtesy of Kev Choice)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While working on his own music, Choice would also regularly pop up behind the keys at jam sessions, open mics or really anywhere there was a piano. Calls for auditions started coming, and he got hired to join Michael Franti and Spearhead on an international tour.\u003c/p>\n\u003cp>Franti had come out of the Bay Area’s underground hip-hop scene, and he attracted a global fan base with his fusion of hip-hop, reggae and funk. The opportunity expanded Choice’s world.\u003c/p>\n\u003cp>“Being a kid from Oakland and, you know, to be walking down the street in Switzerland or France or Belgium,” he reflects, “it blew my mind on what the world looked like and the connection of people to music as well. Like, how strong that was.”\u003c/p>\n\u003cp>The tour pushed Choice to grow his skillset — he had to trade his sheet music and piano for playing by ear on an electric keyboard. He had his own ambitions as a solo artist. But word got out after the Spearhead tour, and he became an in-demand sideman. In the years that followed, he went on the road with alternative and conscious hip-hop artists like Zion I and Lyrics Born.\u003c/p>\n\u003ch2>Around the world with Lauryn Hill\u003c/h2>\n\u003cp>In 2006, Choice got the opportunity of a lifetime: performing with Lauryn Hill. He even worked with her on a demo for a track that became “\u003ca href=\"https://youtu.be/kUvtyBW0Q_A?si=d3791VyTs2p4UAWJ\">Lose Myself\u003c/a>.” (It was featured on the soundtrack of \u003cem>Surf’s Up\u003c/em>, a 2007 animated film about surfing penguins.)\u003c/p>\n\u003cfigure id=\"attachment_13967716\" class=\"wp-caption aligncenter\" style=\"max-width: 768px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967716\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/kev-choice-and-lauryn-hill.jpg\" alt=\"\" width=\"768\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/kev-choice-and-lauryn-hill.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/kev-choice-and-lauryn-hill-160x200.jpg 160w\" sizes=\"(max-width: 768px) 100vw, 768px\">\u003cfigcaption class=\"wp-caption-text\">Kev Choice and Lauryn Hill on tour in 2006. \u003ccite>(Courtesy of Kev Choice)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Choice says their collaboration came together in a complete whirlwind. One day he got a call to meet Hill at an Emeryville studio. She was one of his idols, so of course, he said yes. It turned out to be an audition.\u003c/p>\n\u003cp>As she started playing her guitar, he began playing along on his keyboard.\u003c/p>\n\u003cp>“I think the other guys were, like, just confused,” he says, laughing. “They were like, what the hell is going on?”\u003c/p>\n\u003cp>Afterwards, Choice got another call: Could he put a band together for her? He scrambled, calling everyone he knew. Before long he was the musical director of an all-Bay Area band that accompanied Hill to shows in Hawaii, Japan and Brazil.\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/OPjcgZPGAq8'\n title='//www.youtube.com/embed/OPjcgZPGAq8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>On tour, Choice was inspired by the way Hill carried herself, how she charted her own path and defied expectations.\u003c/p>\n\u003cp>“It gave me the courage that I could achieve anything in this industry,” he says.\u003c/p>\n\u003ch2>Giving it his all as a solo artist\u003c/h2>\n\u003cp>Choice came back to Oakland fired up. He was ready to dedicate himself to his own music, wholeheartedly. It paid off in 2014 when he came out with an album that made waves: \u003ca href=\"https://kevchoice.bandcamp.com/album/oakland-riviera\">\u003cem>Oakland Riviera\u003c/em>\u003c/a>. With lyrics addressing racial injustice, healing and Oakland pride, the project’s elaborate, propulsive instrumentation has a funky, jazzy Afrofuturist vibe.\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/aJoftyUh8a0'\n title='//www.youtube.com/embed/aJoftyUh8a0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>At this point, Choice had cemented his reputation in hip-hop and jazz. And after \u003cem>Oakland Riviera\u003c/em>, he got the chance to show the world what he could do with his classical training. The opportunity arrived thanks to \u003ca href=\"https://www.kqed.org/arts/13901635/michael-morgan-visionary-oakland-symphony-conductor-dies-at-age-63\">Michael Morgan\u003c/a>, the late music director of the Oakland Symphony, who passed away in 2021.\u003c/p>\n\u003cp>Morgan was one of the nation’s few Black leaders of a major orchestra — and Choice had looked up to him since high school. When they met at a Recording Academy mixer, it turned out the maestro was already familiar with the younger man’s work. He invited Choice to compose his first piece for a full orchestra: 2018’s \u003cem>Soul Restoration Suite\u003c/em>.\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/Tiv9_GovdHY'\n title='//www.youtube.com/embed/Tiv9_GovdHY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The five-movement piece took that blend of hip-hop, classical and jazz that Choice had been trying to pull off for decades, and brought it to the next level. Choice conceptualized it as a love letter to Oakland through all of its struggles and triumphs. The first movement tells the story of the Spanish conquest of the area’s Ohlone inhabitants, and Choice’s words flow over lush orchestration.\u003c/p>\n\u003cp>Before this, Choice had composed for quartets and smaller ensembles, but he had never written for a full orchestra before. In Morgan, he found an open-minded mentor who took hip-hop seriously as an art form and appreciated Choice’s personal voice.\u003c/p>\n\u003cp>“I feel like he just kept encouraging me to take what I do as a band director, as a musician, as a hip-hop artist, and use the orchestra to enhance it,” he says. “And keep my original style. Like, don’t try to write like Beethoven. Don’t try to do Stravinsky, do your original music. But using the orchestra as another palette or as more colors to enhance.”\u003c/p>\n\u003cfigure id=\"attachment_13964203\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13964203\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240912-KEVCHOICE-08-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240912-KEVCHOICE-08-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240912-KEVCHOICE-08-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240912-KEVCHOICE-08-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240912-KEVCHOICE-08-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240912-KEVCHOICE-08-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240912-KEVCHOICE-08-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240912-KEVCHOICE-08-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Kev Choice plays the piano at his studio in Oakland on Sept. 12, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Morgan had charted a path for Choice and so many others. He used his position and influence to create more space for Black musicians to be themselves in a largely white and notoriously elitist industry.\u003c/p>\n\u003cp>Today, Choice sits on the Oakland Symphony’s board, and he’s made it his mission to create opportunities for the next generation. In fact, if you drive past the intersection of 51st Street and Shattuck Avenue in North Oakland, you’ll see Choice and Michael Morgan in a mural together, looking hopefully out at a starry sky.\u003c/p>\n\u003cp>Like his mentor, who championed public music education, Choice spent nearly eight years teaching at Oakland School for the Arts. Today, he continues to serve the community in the music education program Elevate Oakland.\u003c/p>\n\u003cfigure id=\"attachment_13967779\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967779\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/kev-choice-mural-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/kev-choice-mural-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/kev-choice-mural-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/kev-choice-mural-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/kev-choice-mural-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/kev-choice-mural-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/kev-choice-mural-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/kev-choice-mural-2048x1152.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/kev-choice-mural-1920x1080.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">An Oakland mural by Hungry Ghost Studio features Michael Morgan (center left) and Kev Choice (center right). \u003ccite>(Nastia Voynovskaya/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A singular vision emerges\u003c/h2>\n\u003cp>Back at Choice’s rehearsal space, I chat with saxophonist \u003ca href=\"https://www.ayobrame.com/\">Ayo Brame\u003c/a>.\u003c/p>\n\u003cp>“Kev is definitely the reason I’m a musician today,” he says.\u003c/p>\n\u003cp>Brame is one of Choice’s former students. At only 17 years old, he’s already headlined two sold-out shows at the jazz club Yoshi’s. He says it’s Choice’s versatility that inspires him.\u003c/p>\n\u003cp>“It shows how important that skillset is to know all genres of music and not be like, I don’t play classical or I don’t play rock music,” Brame adds. “He knows all of it. So yeah definitely, that’s one of my inspirations.”\u003c/p>\n\u003cp>These days, Choice might be busy with community work, but he hasn’t lost sight of his own music. His 2024 EP, \u003ca href=\"https://open.spotify.com/album/2WoxdPZgSbsJ6lVlgCGBJe\">\u003cem>All My Love\u003c/em>\u003c/a>, is the clearest distillation yet of his personal voice and vision.\u003c/p>\n\u003cp>It’s a vulnerable project that takes stock of how he’s shown up in relationships over the years. It examines his personal growth and maturation as a man.\u003c/p>\n\u003cp>The project culminates in the bittersweet song “Congratulations.”\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/52eYIEiDLXw'\n title='//www.youtube.com/embed/52eYIEiDLXw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Choice raps over moving piano arrangements, accompanied by a string quartet, harp and upright bass. In the lyrics, he speaks to an ex who is now getting married.\u003c/p>\n\u003cp>He’s happy for her and a little regretful, looking back at what went wrong and what could have been.\u003c/p>\n\u003cp>At his piano, Choice breaks down how his arrangements underscore the emotion of the track.\u003c/p>\n\u003cp>“Whenever I play ninth chords or minor chords, sometimes it can be dark. Some people say it may be very sad,” he says. “But I almost feel like it’s more sentimental. I’m thinking about what I was going through. And that chord really offers a lot of space to me for reflection.”\u003c/p>\n\u003cp>As I listen to him play, it’s hard not to feel an appreciation for the complicated beauty of the life lessons all of us go through.\u003c/p>\n\u003cp>Choice says \u003cem>All My Love\u003c/em> is just a teaser for a full-length project that’ll come out later this year. He also recently accepted a position as a tenure-track music professor at San Francisco State University. Over two decades into his career as a musician, educator and community advocate, Choice is finally getting the recognition he deserves.\u003c/p>\n\u003cp>“I feel like as a hip hop artist, I’m always trying to grow, try to get more expressive, try to stay relevant,” Choice affirms. “I don’t want my sound to ever get stale or not continue to evolve.”\u003c/p>\n\u003cp>That growth mindset has been a theme in Choice’s career since the very beginning, and it’s propelled so much more than his personal evolution. The hundreds of students he’s taught, and the countless audience members who’ve seen him live, have left with a little piece of his vision: to look beyond arbitrary boundaries, to come together and to better ourselves and our communities through art.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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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=\"(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=\"(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>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=\"(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=\"(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": "\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=\"(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>“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=\"(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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"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": "2024-tik-tok-biggest-trends-demure-sanewashing-staches-sourdough-passenger-princess-bubble-skirts",
"title": "Demure, Sanewashing, ‘Staches: Trends to Move on From in 2025",
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"headTitle": "Demure, Sanewashing, ‘Staches: Trends to Move on From in 2025 | KQED",
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"content": "\u003cp>We’ve demure-d our way through 2024. We’ve played passenger princess. \u003ca href=\"https://www.kqed.org/arts/13879390/everything-you-need-to-know-about-sourdough-starters-but-were-afraid-to-ask\">We’ve baked enough sourdough\u003c/a> to cover the world with our bubbly starters. We’ve rawdogged it and we’ve hyped it. All of it.\u003c/p>\n\u003cp>There’s lots to leave behind as the new year rolls around. Here’s a tiny tip of the iceberg of what we’re over as we move on to 2025.\u003c/p>\n\u003ch2>Summer’s over demure-ers!\u003c/h2>\n\u003cp>TikToker Jools Lebron’s 38-second video describing her workday makeup routine as “Very demure. Very mindful” lit up the summer with memes. The video has been viewed more than 50 million times.\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@joolieannie/video/7399736793119247662\" data-video-id=\"7399736793119247662\">\n\u003csection>\u003ca title=\"@joolieannie\" href=\"https://www.tiktok.com/@joolieannie?refer=embed\" target=\"_blank\" rel=\"noopener\">@joolieannie\u003c/a> \u003ca title=\"fyp\" href=\"https://www.tiktok.com/tag/fyp?refer=embed\" target=\"_blank\" rel=\"noopener\">#fyp\u003c/a> \u003ca title=\"demure\" href=\"https://www.tiktok.com/tag/demure?refer=embed\" target=\"_blank\" rel=\"noopener\">#demure\u003c/a> \u003ca title=\"♬ original sound - Jools Lebron\" href=\"https://www.tiktok.com/music/original-sound-7399736743798262574?refer=embed\" target=\"_blank\" rel=\"noopener\">♬ original sound – Jools Lebron\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>[tiktok]\u003c/p>\n\u003cp>With her newfound fame, Lebron, a transgender woman, was able to earn toward her transition, help her family, rack up some brand deals and make a big statement about staying positive. In another video, she got the world going on “very cutesy.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Love you, Jools! But here’s the thing all you meme-makers: Summer’s over. We’re also looking at you, “brat” enthusiasts. The summer slime greenness of it all and \u003ca href=\"https://www.kqed.org/arts/13967133/charli-xcx-fans-election-2024-harris-trump\">the Charli XCX-Kamala Harris moment\u003c/a> were great! We know you’ll keep it demure as you move on to the next big thing.\u003c/p>\n\u003cp>As for all those dogs and cats eeeking out in videos over President Donald Trump’s Haitian immigrant remark? Here’s to a calmer 2025 for you, Springfield, Ohio.\u003c/p>\n\u003ch2>Passenger princesses: Take the wheel\u003c/h2>\n\u003cp>Speaking of demure but no longer cutesy, in the name of all things Holy Feminism, passenger princesses must abdicate.\u003c/p>\n\u003cp>[aside postid='arts_13965878']A passenger princess, according to Urban Dictionary, is “a pretty girl that has no other job but to look pretty in the passenger seat while her sneaky link/boyfriend/significant other drives.” What’s a sneaky link, you might ask? It’s a secret hookup. For sex.\u003c/p>\n\u003cp>Passenger princesses decorate their sides of front seats with little baubles in the air vent. They pack in snacks on little trays that fit on their Stanley cups. They bring cozy blankies, replace visor mirrors with fancy lit ones and generally reign while demanding their men place one hand on their nearest leg.\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@jordan.natae/video/7385623670804319530\" data-video-id=\"7385623670804319530\">\n\u003csection>\u003ca title=\"@jordan.natae\" href=\"https://www.tiktok.com/@jordan.natae?refer=embed\" target=\"_blank\" rel=\"noopener\">@jordan.natae\u003c/a> 💕ultimate passenger princess💕 \u003ca title=\"passengerprincess\" href=\"https://www.tiktok.com/tag/passengerprincess?refer=embed\" target=\"_blank\" rel=\"noopener\">#passengerprincess\u003c/a> \u003ca title=\"grwm\" href=\"https://www.tiktok.com/tag/grwm?refer=embed\" target=\"_blank\" rel=\"noopener\">#grwm\u003c/a> \u003ca title=\"fyp\" href=\"https://www.tiktok.com/tag/fyp?refer=embed\" target=\"_blank\" rel=\"noopener\">#fyp\u003c/a> \u003ca title=\"♬ GOOD LUCK BABE by CHAPPELL ROAN - Chappell’s Fandom 👑\" href=\"https://www.tiktok.com/music/GOOD-LUCK-BABE-by-CHAPPELL-ROAN-7354234642725096235?refer=embed\" target=\"_blank\" rel=\"noopener\">♬ GOOD LUCK BABE by CHAPPELL ROAN – Chappell’s Fandom 👑\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>[tiktok]\u003c/p>\n\u003cp>The term has been around since at least 2020, when a Twitter (now X) user called his dog a passenger princess on a photo of said dog in the front seat of his car. That, eventually, morphed into human princesses storming TikTok.\u003c/p>\n\u003cp>Take the wheel, dear princesses. We know you know how to drive. And congrats, TikToker @masonshea. Your passenger prince video has amassed more than 60 million views since you posted an equal treatment grab in early 2023.\u003c/p>\n\u003ch2>Bubble dressing, pop off\u003c/h2>\n\u003cp>Unless you’re in a \u003ca href=\"https://www.kqed.org/arts/tag/k-pop\">K-pop\u003c/a> girl band and-or young, tall and stick-thin, this fashion thang looks good on exactly no one. And it’s back. On runways. In streetwear. On shopping sites and store shelves.\u003c/p>\n\u003cp>Why reach for puff ball dresses, skirts, bloomers and tops with so many other options out there? \u003cem>Teen Vogue\u003c/em> noted Gen Z’s embrace in September, describing the silhouette as having a form-fitting waist and balloon-like hem. It’s, wait for it, “feminine and romantic” and “draws attention to the body,” the magazine said.\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@amadiakilah/video/7381771996205419819\" data-video-id=\"7381771996205419819\">\n\u003csection>\u003ca title=\"@amadiakilah\" href=\"https://www.tiktok.com/@amadiakilah?refer=embed\" target=\"_blank\" rel=\"noopener\">@amadiakilah\u003c/a> Replying to @Caliii Here you go!!!🤍🤍🤍 \u003ca title=\"styletips\" href=\"https://www.tiktok.com/tag/styletips?refer=embed\" target=\"_blank\" rel=\"noopener\">#styletips\u003c/a> \u003ca title=\"styling\" href=\"https://www.tiktok.com/tag/styling?refer=embed\" target=\"_blank\" rel=\"noopener\">#styling\u003c/a> \u003ca title=\"outfitideas\" href=\"https://www.tiktok.com/tag/outfitideas?refer=embed\" target=\"_blank\" rel=\"noopener\">#outfitideas\u003c/a> \u003ca title=\"♬ original sound - AMADI AKILAH\" href=\"https://www.tiktok.com/music/original-sound-7381772013393693482?refer=embed\" target=\"_blank\" rel=\"noopener\">♬ original sound – AMADI AKILAH\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>[tiktok]\u003c/p>\n\u003cp>Not, on the aforementioned, in a good way. And that means the majority of women.\u003c/p>\n\u003cp>“There is just something funny about bubble hems and the way they, well, bubble up around your thighs,” \u003cem>Harper Bazaar\u003c/em>’s Tara Gonzalez wrote in August. “They’re vaguely diaperlike in that sense, which is why they aren’t a crowd-pleaser. Instead, they’re something either you get or you don’t.”\u003c/p>\n\u003cp>Bubble dresses, in various iterations, are hardly fresh fashion. Pierre Cardin, Christian Dior, Hubert de Givenchy and Yves Saint Laurent got there first in the 1950s. They, yes, bubbled back up in the 1980s, and again in the 2000s.\u003c/p>\n\u003cp>Dare to be different!\u003c/p>\n\u003ch2>Ooey gooey sourdough starter videos\u003c/h2>\n\u003cp>What did we do during the lockdowns of the coronavirus pandemic? We baked bread. Specifically, we went nuts for sourdough because we were home with time on our hands to feed our starters and tend to our rises and bake our loaves.\u003c/p>\n\u003cp>[aside postid='arts_13967439']Well, some of y’all are still putting up sourdough videos, naming your starters, selling dehydrated bits of your starters, spending hours on rises and pull-and-folds and waxing wise on which tools and baskets are the best.\u003c/p>\n\u003cp>The world has re-started. Keep your bread videos to yourselves. Your starters bubble. They multiply. Your dough rises and rises again. Your little razor cuts are epic. Sourdough bread is lovely and it’s healthy and, now, we all know how to make it.\u003c/p>\n\u003cp>Sourdough videos? No need. Thank you for your service.\u003c/p>\n\u003ch2>Rawdogging: Dump it both ways\u003c/h2>\n\u003cp>Depending on who you are, rawdogging has different meanings. There’s having sex without a condom. And there’s the male-driven travel trend of eschewing all distractions and movement and sustenance while long-haul flying. The latter raw dogging spiked in 2024.\u003c/p>\n\u003cp>You’ve got your hyper-male enthusiasts looking to, well, be hyper-male. And you’ve got your travelers seeking to lock in some sort of mindfulness or uber-focus or, what? Who knows.\u003c/p>\n\u003cp>Listen: You paid for that ticket. Enjoy the food and music and movies. Also, not drinking is just dehydration silly. So is blood clot-worthy not moving around.\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@sspencerevans/video/7404979330583104814\" data-video-id=\"7404979330583104814\">\n\u003csection>\u003ca title=\"@sspencerevans\" href=\"https://www.tiktok.com/@sspencerevans?refer=embed\" target=\"_blank\" rel=\"noopener\">@sspencerevans\u003c/a> Just raw dogged this entire flight. 24 hours. \u003ca title=\"flight\" href=\"https://www.tiktok.com/tag/flight?refer=embed\" target=\"_blank\" rel=\"noopener\">#flight\u003c/a> \u003ca title=\"sigmagrindset\" href=\"https://www.tiktok.com/tag/sigmagrindset?refer=embed\" target=\"_blank\" rel=\"noopener\">#sigmagrindset\u003c/a> \u003ca title=\"fyp\" href=\"https://www.tiktok.com/tag/fyp?refer=embed\" target=\"_blank\" rel=\"noopener\">#fyp\u003c/a> \u003ca title=\"trend\" href=\"https://www.tiktok.com/tag/trend?refer=embed\" target=\"_blank\" rel=\"noopener\">#trend\u003c/a> \u003ca title=\"flying\" href=\"https://www.tiktok.com/tag/flying?refer=embed\" target=\"_blank\" rel=\"noopener\">#flying\u003c/a> \u003ca title=\"fory\" href=\"https://www.tiktok.com/tag/fory?refer=embed\" target=\"_blank\" rel=\"noopener\">#fory\u003c/a> \u003ca title=\"pov\" href=\"https://www.tiktok.com/tag/pov?refer=embed\" target=\"_blank\" rel=\"noopener\">#pov\u003c/a> \u003ca title=\"♬ sonido original - 𝑪𝑶𝑴𝑨𝑵𝑫𝑨𝑵𝑻𝑬_𝑯𝑵💀🎶\" href=\"https://www.tiktok.com/music/sonido-original-7387531526982814470?refer=embed\" target=\"_blank\" rel=\"noopener\">♬ sonido original – 𝑪𝑶𝑴𝑨𝑵𝑫𝑨𝑵𝑻𝑬_𝑯𝑵💀🎶\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>[tiktok]\u003c/p>\n\u003cp>Finding your center by simply staring at the in-flight map seems, simply, pointless. Here’s to a rawdog-free new year. The same goes for that plane seat belt thing where people find it somehow useful (not) to buckle up at the ankles, their knees hiked to their chins. C’mon. That can’t be all that comfortable, let alone safe. Happy turbulence to you all.\u003c/p>\n\u003cp>Speaking of travel trends, shove off people curating the contents of your TSA trays. As for those among you who bought TSA trays to conveniently produce content at home. Not cutesy.\u003c/p>\n\u003ch2>Social media hype talk, take a breath!\u003c/h2>\n\u003cp>These potatoes. I mean, come ON! Are you kidding me? Wow, just wow. Don’t sleep on these! Potatoes!\u003c/p>\n\u003cp>Where there are content creators, there’s hype talk. There’s a superlative mountain. There’s fake amazement, surprise, excitement over the mundanest of mundaney things as the race for likes, shares and comments carries on.\u003c/p>\n\u003cp>[aside postid='arts_13908052']And there’s a plague of weird verbalisms that make various tasks sound like battlegrounds: I’m “going in” with the ranch dressing. I’m “going in” with this concealer. I’m “frying off” the garlic. I’m gonna “hit it” with the salt!\u003c/p>\n\u003cp>Much has been made of social media speak for decades. This species is just so dumbly an attempt to make something truly boring sound viral worthy. It spread faster than a runaway money train.\u003c/p>\n\u003cp>Take a breath. We’ll look at you making potatoes. We promise.\u003c/p>\n\u003ch2>Standalone ‘staches, wiggle away\u003c/h2>\n\u003cp>The chevron. The Dali. The pencil. The walrus.\u003c/p>\n\u003cp>Since virus lockdowns offered men the time and space to curate their faces, mustaches all by their lonesome have been on the rise. Justin Bieber, Harry Styles, Pedro Pascal, The Weeknd and Jacob Elordi rocked their ‘staches sans beards on red carpets and social media, upping the nowness of it all.\u003c/p>\n\u003cp>As of September 2022, Gillette estimated that 12.5 million men in the U.S. had mustaches. That’s a 1.5% increase from March 2020. The shaving company launched a facial hair-grooming brand, King C. Gillette, to ride the wave.\u003c/p>\n\u003cp>Mustaches, with beards. Fine. Freestanding mustaches. Polarizing. Do we thank a contingent of ironical millennials looking to revisit the past for this, uh, trend? What about the unironical? Do we point to Miles Teller’s character in the 2022 film, \u003cem>Top Gun: Maverick?\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=pVcMsjyKlaM\u003c/p>\n\u003cp>Teller’s ‘stache was a nod to Anthony Edwards’ similar one in the original 1986 \u003cem>Top Gun\u003c/em>. This is not 1986.\u003c/p>\n\u003cp>Have a nice day.\u003c/p>\n\u003ch2>Dorm rooms on steroids\u003c/h2>\n\u003cp>Fancy headboards. Custom-made cabinetry. An interior designer. Dorm room decor for some is way, WAY off the rails, leaving students who can’t afford to spend thousands in the dirt.\u003c/p>\n\u003cp>The cost of college — tuition, fees, room and board — nearly doubled between 1992 and 2022, rising from an inflation-adjusted average of $14,441 per year to $26,903 across all types of schools, according to the National Center for Education Statistics. Dorm costs saw a similar increase in the same time span, $3,824 to $7,097.\u003c/p>\n\u003cp>Hello haves and have-nots. We see you. And thank you TikTok for fueling the frenzy.\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@hello.itskatie/video/6990691618747649286\" data-video-id=\"6990691618747649286\">\n\u003csection>\u003ca title=\"@hello.itskatie\" href=\"https://www.tiktok.com/@hello.itskatie?refer=embed\" target=\"_blank\" rel=\"noopener\">@hello.itskatie\u003c/a> Comment your college! \u003ca title=\"fyp\" href=\"https://www.tiktok.com/tag/fyp?refer=embed\" target=\"_blank\" rel=\"noopener\">#fyp\u003c/a> \u003ca title=\"foryou\" href=\"https://www.tiktok.com/tag/foryou?refer=embed\" target=\"_blank\" rel=\"noopener\">#foryou\u003c/a> \u003ca title=\"foryoupage\" href=\"https://www.tiktok.com/tag/foryoupage?refer=embed\" target=\"_blank\" rel=\"noopener\">#foryoupage\u003c/a> \u003ca title=\"college\" href=\"https://www.tiktok.com/tag/college?refer=embed\" target=\"_blank\" rel=\"noopener\">#college\u003c/a> \u003ca title=\"dormroom\" href=\"https://www.tiktok.com/tag/dormroom?refer=embed\" target=\"_blank\" rel=\"noopener\">#dormroom\u003c/a> \u003ca title=\"welcomeback\" href=\"https://www.tiktok.com/tag/welcomeback?refer=embed\" target=\"_blank\" rel=\"noopener\">#WelcomeBack\u003c/a> \u003ca title=\"chilidogyumplz\" href=\"https://www.tiktok.com/tag/chilidogyumplz?refer=embed\" target=\"_blank\" rel=\"noopener\">#ChiliDogYumPlz\u003c/a> \u003ca title=\"liveflowsweatduet\" href=\"https://www.tiktok.com/tag/liveflowsweatduet?refer=embed\" target=\"_blank\" rel=\"noopener\">#LiveFlowSweatDuet\u003c/a> \u003ca title=\"thesuicidesquadmovie\" href=\"https://www.tiktok.com/tag/thesuicidesquadmovie?refer=embed\" target=\"_blank\" rel=\"noopener\">#TheSuicideSquadMovie\u003c/a> \u003ca title=\"viral\" href=\"https://www.tiktok.com/tag/viral?refer=embed\" target=\"_blank\" rel=\"noopener\">#viral\u003c/a> \u003ca title=\"♬ Psycho (feat. Rubi Rose) - Dixie\" href=\"https://www.tiktok.com/music/Psycho-feat-Rubi-Rose-6977948755974850561?refer=embed\" target=\"_blank\" rel=\"noopener\">♬ Psycho (feat. Rubi Rose) – Dixie\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>[tiktok]\u003c/p>\n\u003ch2>Over It runners-up\u003c/h2>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13882681/we-all-know-a-karen-when-we-see-one-now-we-need-to-talk-about-kevin\">Karens\u003c/a>: Airplane Karens. In-store Karens. Neighbor Karens. Park Karens. Yes, we’ve mentioned you before and, lo, you’re still here. You’ve had your day. You’ve had your years. Meds. Therapy. Whatever it takes.\u003c/p>\n\u003cp>Sanewashing: Advance the power of facts. End the false equivalence. In all things. That is all.\u003c/p>\n\u003cp>Anti-aging products for young girls: Damage has been done. Parents, get a grip.\u003c/p>\n\u003cp>Paging Dr. Beat: Emergency, emergency! All you walking-in-place video creators showing off your scrubs and your jammies and your entire wardrobes. Tired content. Cut it out.\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@verarosalind/video/7396855444674759979\" data-video-id=\"7396855444674759979\">\n\u003csection>\u003ca title=\"@verarosalind\" href=\"https://www.tiktok.com/@verarosalind?refer=embed\" target=\"_blank\" rel=\"noopener\">@verarosalind\u003c/a> which look is your fav? \u003ca title=\"deminstyle\" href=\"https://www.tiktok.com/tag/deminstyle?refer=embed\" target=\"_blank\" rel=\"noopener\">#deminstyle\u003c/a> \u003ca title=\"drbeat\" href=\"https://www.tiktok.com/tag/drbeat?refer=embed\" target=\"_blank\" rel=\"noopener\">#drbeat\u003c/a> \u003ca title=\"emergency\" href=\"https://www.tiktok.com/tag/emergency?refer=embed\" target=\"_blank\" rel=\"noopener\">#emergency\u003c/a> \u003ca title=\"emergencydancetrend\" href=\"https://www.tiktok.com/tag/emergencydancetrend?refer=embed\" target=\"_blank\" rel=\"noopener\">#emergencydancetrend\u003c/a> \u003ca title=\"modelsoftiktok\" href=\"https://www.tiktok.com/tag/modelsoftiktok?refer=embed\" target=\"_blank\" rel=\"noopener\">#modelsoftiktok\u003c/a> \u003ca title=\"♬ 911 Emergency - Carl\" href=\"https://www.tiktok.com/music/911-Emergency-7371044842366978064?refer=embed\" target=\"_blank\" rel=\"noopener\">♬ 911 Emergency – Carl\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>[tiktok]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>New year. New song. New memes.\u003c/p>\n\n",
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"excerpt": "With just weeks to go until the New Year, let's examine which viral TikToks are best left in 2024.",
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"title": "TikTok Trends to Ditch in 2025 | KQED",
"description": "With just weeks to go until the New Year, let's examine which viral TikToks are best left in 2024.",
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"headline": "Demure, Sanewashing, ‘Staches: Trends to Move on From in 2025",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>We’ve demure-d our way through 2024. We’ve played passenger princess. \u003ca href=\"https://www.kqed.org/arts/13879390/everything-you-need-to-know-about-sourdough-starters-but-were-afraid-to-ask\">We’ve baked enough sourdough\u003c/a> to cover the world with our bubbly starters. We’ve rawdogged it and we’ve hyped it. All of it.\u003c/p>\n\u003cp>There’s lots to leave behind as the new year rolls around. Here’s a tiny tip of the iceberg of what we’re over as we move on to 2025.\u003c/p>\n\u003ch2>Summer’s over demure-ers!\u003c/h2>\n\u003cp>TikToker Jools Lebron’s 38-second video describing her workday makeup routine as “Very demure. Very mindful” lit up the summer with memes. The video has been viewed more than 50 million times.\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@joolieannie/video/7399736793119247662\" data-video-id=\"7399736793119247662\">\n\u003csection>\u003ca title=\"@joolieannie\" href=\"https://www.tiktok.com/@joolieannie?refer=embed\" target=\"_blank\" rel=\"noopener\">@joolieannie\u003c/a> \u003ca title=\"fyp\" href=\"https://www.tiktok.com/tag/fyp?refer=embed\" target=\"_blank\" rel=\"noopener\">#fyp\u003c/a> \u003ca title=\"demure\" href=\"https://www.tiktok.com/tag/demure?refer=embed\" target=\"_blank\" rel=\"noopener\">#demure\u003c/a> \u003ca title=\"♬ original sound - Jools Lebron\" href=\"https://www.tiktok.com/music/original-sound-7399736743798262574?refer=embed\" target=\"_blank\" rel=\"noopener\">♬ original sound – Jools Lebron\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>With her newfound fame, Lebron, a transgender woman, was able to earn toward her transition, help her family, rack up some brand deals and make a big statement about staying positive. In another video, she got the world going on “very cutesy.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Love you, Jools! But here’s the thing all you meme-makers: Summer’s over. We’re also looking at you, “brat” enthusiasts. The summer slime greenness of it all and \u003ca href=\"https://www.kqed.org/arts/13967133/charli-xcx-fans-election-2024-harris-trump\">the Charli XCX-Kamala Harris moment\u003c/a> were great! We know you’ll keep it demure as you move on to the next big thing.\u003c/p>\n\u003cp>As for all those dogs and cats eeeking out in videos over President Donald Trump’s Haitian immigrant remark? Here’s to a calmer 2025 for you, Springfield, Ohio.\u003c/p>\n\u003ch2>Passenger princesses: Take the wheel\u003c/h2>\n\u003cp>Speaking of demure but no longer cutesy, in the name of all things Holy Feminism, passenger princesses must abdicate.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>A passenger princess, according to Urban Dictionary, is “a pretty girl that has no other job but to look pretty in the passenger seat while her sneaky link/boyfriend/significant other drives.” What’s a sneaky link, you might ask? It’s a secret hookup. For sex.\u003c/p>\n\u003cp>Passenger princesses decorate their sides of front seats with little baubles in the air vent. They pack in snacks on little trays that fit on their Stanley cups. They bring cozy blankies, replace visor mirrors with fancy lit ones and generally reign while demanding their men place one hand on their nearest leg.\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@jordan.natae/video/7385623670804319530\" data-video-id=\"7385623670804319530\">\n\u003csection>\u003ca title=\"@jordan.natae\" href=\"https://www.tiktok.com/@jordan.natae?refer=embed\" target=\"_blank\" rel=\"noopener\">@jordan.natae\u003c/a> 💕ultimate passenger princess💕 \u003ca title=\"passengerprincess\" href=\"https://www.tiktok.com/tag/passengerprincess?refer=embed\" target=\"_blank\" rel=\"noopener\">#passengerprincess\u003c/a> \u003ca title=\"grwm\" href=\"https://www.tiktok.com/tag/grwm?refer=embed\" target=\"_blank\" rel=\"noopener\">#grwm\u003c/a> \u003ca title=\"fyp\" href=\"https://www.tiktok.com/tag/fyp?refer=embed\" target=\"_blank\" rel=\"noopener\">#fyp\u003c/a> \u003ca title=\"♬ GOOD LUCK BABE by CHAPPELL ROAN - Chappell’s Fandom 👑\" href=\"https://www.tiktok.com/music/GOOD-LUCK-BABE-by-CHAPPELL-ROAN-7354234642725096235?refer=embed\" target=\"_blank\" rel=\"noopener\">♬ GOOD LUCK BABE by CHAPPELL ROAN – Chappell’s Fandom 👑\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The term has been around since at least 2020, when a Twitter (now X) user called his dog a passenger princess on a photo of said dog in the front seat of his car. That, eventually, morphed into human princesses storming TikTok.\u003c/p>\n\u003cp>Take the wheel, dear princesses. We know you know how to drive. And congrats, TikToker @masonshea. Your passenger prince video has amassed more than 60 million views since you posted an equal treatment grab in early 2023.\u003c/p>\n\u003ch2>Bubble dressing, pop off\u003c/h2>\n\u003cp>Unless you’re in a \u003ca href=\"https://www.kqed.org/arts/tag/k-pop\">K-pop\u003c/a> girl band and-or young, tall and stick-thin, this fashion thang looks good on exactly no one. And it’s back. On runways. In streetwear. On shopping sites and store shelves.\u003c/p>\n\u003cp>Why reach for puff ball dresses, skirts, bloomers and tops with so many other options out there? \u003cem>Teen Vogue\u003c/em> noted Gen Z’s embrace in September, describing the silhouette as having a form-fitting waist and balloon-like hem. It’s, wait for it, “feminine and romantic” and “draws attention to the body,” the magazine said.\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@amadiakilah/video/7381771996205419819\" data-video-id=\"7381771996205419819\">\n\u003csection>\u003ca title=\"@amadiakilah\" href=\"https://www.tiktok.com/@amadiakilah?refer=embed\" target=\"_blank\" rel=\"noopener\">@amadiakilah\u003c/a> Replying to @Caliii Here you go!!!🤍🤍🤍 \u003ca title=\"styletips\" href=\"https://www.tiktok.com/tag/styletips?refer=embed\" target=\"_blank\" rel=\"noopener\">#styletips\u003c/a> \u003ca title=\"styling\" href=\"https://www.tiktok.com/tag/styling?refer=embed\" target=\"_blank\" rel=\"noopener\">#styling\u003c/a> \u003ca title=\"outfitideas\" href=\"https://www.tiktok.com/tag/outfitideas?refer=embed\" target=\"_blank\" rel=\"noopener\">#outfitideas\u003c/a> \u003ca title=\"♬ original sound - AMADI AKILAH\" href=\"https://www.tiktok.com/music/original-sound-7381772013393693482?refer=embed\" target=\"_blank\" rel=\"noopener\">♬ original sound – AMADI AKILAH\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Not, on the aforementioned, in a good way. And that means the majority of women.\u003c/p>\n\u003cp>“There is just something funny about bubble hems and the way they, well, bubble up around your thighs,” \u003cem>Harper Bazaar\u003c/em>’s Tara Gonzalez wrote in August. “They’re vaguely diaperlike in that sense, which is why they aren’t a crowd-pleaser. Instead, they’re something either you get or you don’t.”\u003c/p>\n\u003cp>Bubble dresses, in various iterations, are hardly fresh fashion. Pierre Cardin, Christian Dior, Hubert de Givenchy and Yves Saint Laurent got there first in the 1950s. They, yes, bubbled back up in the 1980s, and again in the 2000s.\u003c/p>\n\u003cp>Dare to be different!\u003c/p>\n\u003ch2>Ooey gooey sourdough starter videos\u003c/h2>\n\u003cp>What did we do during the lockdowns of the coronavirus pandemic? We baked bread. Specifically, we went nuts for sourdough because we were home with time on our hands to feed our starters and tend to our rises and bake our loaves.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Well, some of y’all are still putting up sourdough videos, naming your starters, selling dehydrated bits of your starters, spending hours on rises and pull-and-folds and waxing wise on which tools and baskets are the best.\u003c/p>\n\u003cp>The world has re-started. Keep your bread videos to yourselves. Your starters bubble. They multiply. Your dough rises and rises again. Your little razor cuts are epic. Sourdough bread is lovely and it’s healthy and, now, we all know how to make it.\u003c/p>\n\u003cp>Sourdough videos? No need. Thank you for your service.\u003c/p>\n\u003ch2>Rawdogging: Dump it both ways\u003c/h2>\n\u003cp>Depending on who you are, rawdogging has different meanings. There’s having sex without a condom. And there’s the male-driven travel trend of eschewing all distractions and movement and sustenance while long-haul flying. The latter raw dogging spiked in 2024.\u003c/p>\n\u003cp>You’ve got your hyper-male enthusiasts looking to, well, be hyper-male. And you’ve got your travelers seeking to lock in some sort of mindfulness or uber-focus or, what? Who knows.\u003c/p>\n\u003cp>Listen: You paid for that ticket. Enjoy the food and music and movies. Also, not drinking is just dehydration silly. So is blood clot-worthy not moving around.\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@sspencerevans/video/7404979330583104814\" data-video-id=\"7404979330583104814\">\n\u003csection>\u003ca title=\"@sspencerevans\" href=\"https://www.tiktok.com/@sspencerevans?refer=embed\" target=\"_blank\" rel=\"noopener\">@sspencerevans\u003c/a> Just raw dogged this entire flight. 24 hours. \u003ca title=\"flight\" href=\"https://www.tiktok.com/tag/flight?refer=embed\" target=\"_blank\" rel=\"noopener\">#flight\u003c/a> \u003ca title=\"sigmagrindset\" href=\"https://www.tiktok.com/tag/sigmagrindset?refer=embed\" target=\"_blank\" rel=\"noopener\">#sigmagrindset\u003c/a> \u003ca title=\"fyp\" href=\"https://www.tiktok.com/tag/fyp?refer=embed\" target=\"_blank\" rel=\"noopener\">#fyp\u003c/a> \u003ca title=\"trend\" href=\"https://www.tiktok.com/tag/trend?refer=embed\" target=\"_blank\" rel=\"noopener\">#trend\u003c/a> \u003ca title=\"flying\" href=\"https://www.tiktok.com/tag/flying?refer=embed\" target=\"_blank\" rel=\"noopener\">#flying\u003c/a> \u003ca title=\"fory\" href=\"https://www.tiktok.com/tag/fory?refer=embed\" target=\"_blank\" rel=\"noopener\">#fory\u003c/a> \u003ca title=\"pov\" href=\"https://www.tiktok.com/tag/pov?refer=embed\" target=\"_blank\" rel=\"noopener\">#pov\u003c/a> \u003ca title=\"♬ sonido original - 𝑪𝑶𝑴𝑨𝑵𝑫𝑨𝑵𝑻𝑬_𝑯𝑵💀🎶\" href=\"https://www.tiktok.com/music/sonido-original-7387531526982814470?refer=embed\" target=\"_blank\" rel=\"noopener\">♬ sonido original – 𝑪𝑶𝑴𝑨𝑵𝑫𝑨𝑵𝑻𝑬_𝑯𝑵💀🎶\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Finding your center by simply staring at the in-flight map seems, simply, pointless. Here’s to a rawdog-free new year. The same goes for that plane seat belt thing where people find it somehow useful (not) to buckle up at the ankles, their knees hiked to their chins. C’mon. That can’t be all that comfortable, let alone safe. Happy turbulence to you all.\u003c/p>\n\u003cp>Speaking of travel trends, shove off people curating the contents of your TSA trays. As for those among you who bought TSA trays to conveniently produce content at home. Not cutesy.\u003c/p>\n\u003ch2>Social media hype talk, take a breath!\u003c/h2>\n\u003cp>These potatoes. I mean, come ON! Are you kidding me? Wow, just wow. Don’t sleep on these! Potatoes!\u003c/p>\n\u003cp>Where there are content creators, there’s hype talk. There’s a superlative mountain. There’s fake amazement, surprise, excitement over the mundanest of mundaney things as the race for likes, shares and comments carries on.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>And there’s a plague of weird verbalisms that make various tasks sound like battlegrounds: I’m “going in” with the ranch dressing. I’m “going in” with this concealer. I’m “frying off” the garlic. I’m gonna “hit it” with the salt!\u003c/p>\n\u003cp>Much has been made of social media speak for decades. This species is just so dumbly an attempt to make something truly boring sound viral worthy. It spread faster than a runaway money train.\u003c/p>\n\u003cp>Take a breath. We’ll look at you making potatoes. We promise.\u003c/p>\n\u003ch2>Standalone ‘staches, wiggle away\u003c/h2>\n\u003cp>The chevron. The Dali. The pencil. The walrus.\u003c/p>\n\u003cp>Since virus lockdowns offered men the time and space to curate their faces, mustaches all by their lonesome have been on the rise. Justin Bieber, Harry Styles, Pedro Pascal, The Weeknd and Jacob Elordi rocked their ‘staches sans beards on red carpets and social media, upping the nowness of it all.\u003c/p>\n\u003cp>As of September 2022, Gillette estimated that 12.5 million men in the U.S. had mustaches. That’s a 1.5% increase from March 2020. The shaving company launched a facial hair-grooming brand, King C. Gillette, to ride the wave.\u003c/p>\n\u003cp>Mustaches, with beards. Fine. Freestanding mustaches. Polarizing. Do we thank a contingent of ironical millennials looking to revisit the past for this, uh, trend? What about the unironical? Do we point to Miles Teller’s character in the 2022 film, \u003cem>Top Gun: Maverick?\u003c/em>\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/pVcMsjyKlaM'\n title='//www.youtube.com/embed/pVcMsjyKlaM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Teller’s ‘stache was a nod to Anthony Edwards’ similar one in the original 1986 \u003cem>Top Gun\u003c/em>. This is not 1986.\u003c/p>\n\u003cp>Have a nice day.\u003c/p>\n\u003ch2>Dorm rooms on steroids\u003c/h2>\n\u003cp>Fancy headboards. Custom-made cabinetry. An interior designer. Dorm room decor for some is way, WAY off the rails, leaving students who can’t afford to spend thousands in the dirt.\u003c/p>\n\u003cp>The cost of college — tuition, fees, room and board — nearly doubled between 1992 and 2022, rising from an inflation-adjusted average of $14,441 per year to $26,903 across all types of schools, according to the National Center for Education Statistics. Dorm costs saw a similar increase in the same time span, $3,824 to $7,097.\u003c/p>\n\u003cp>Hello haves and have-nots. We see you. And thank you TikTok for fueling the frenzy.\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@hello.itskatie/video/6990691618747649286\" data-video-id=\"6990691618747649286\">\n\u003csection>\u003ca title=\"@hello.itskatie\" href=\"https://www.tiktok.com/@hello.itskatie?refer=embed\" target=\"_blank\" rel=\"noopener\">@hello.itskatie\u003c/a> Comment your college! \u003ca title=\"fyp\" href=\"https://www.tiktok.com/tag/fyp?refer=embed\" target=\"_blank\" rel=\"noopener\">#fyp\u003c/a> \u003ca title=\"foryou\" href=\"https://www.tiktok.com/tag/foryou?refer=embed\" target=\"_blank\" rel=\"noopener\">#foryou\u003c/a> \u003ca title=\"foryoupage\" href=\"https://www.tiktok.com/tag/foryoupage?refer=embed\" target=\"_blank\" rel=\"noopener\">#foryoupage\u003c/a> \u003ca title=\"college\" href=\"https://www.tiktok.com/tag/college?refer=embed\" target=\"_blank\" rel=\"noopener\">#college\u003c/a> \u003ca title=\"dormroom\" href=\"https://www.tiktok.com/tag/dormroom?refer=embed\" target=\"_blank\" rel=\"noopener\">#dormroom\u003c/a> \u003ca title=\"welcomeback\" href=\"https://www.tiktok.com/tag/welcomeback?refer=embed\" target=\"_blank\" rel=\"noopener\">#WelcomeBack\u003c/a> \u003ca title=\"chilidogyumplz\" href=\"https://www.tiktok.com/tag/chilidogyumplz?refer=embed\" target=\"_blank\" rel=\"noopener\">#ChiliDogYumPlz\u003c/a> \u003ca title=\"liveflowsweatduet\" href=\"https://www.tiktok.com/tag/liveflowsweatduet?refer=embed\" target=\"_blank\" rel=\"noopener\">#LiveFlowSweatDuet\u003c/a> \u003ca title=\"thesuicidesquadmovie\" href=\"https://www.tiktok.com/tag/thesuicidesquadmovie?refer=embed\" target=\"_blank\" rel=\"noopener\">#TheSuicideSquadMovie\u003c/a> \u003ca title=\"viral\" href=\"https://www.tiktok.com/tag/viral?refer=embed\" target=\"_blank\" rel=\"noopener\">#viral\u003c/a> \u003ca title=\"♬ Psycho (feat. Rubi Rose) - Dixie\" href=\"https://www.tiktok.com/music/Psycho-feat-Rubi-Rose-6977948755974850561?refer=embed\" target=\"_blank\" rel=\"noopener\">♬ Psycho (feat. Rubi Rose) – Dixie\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003ch2>Over It runners-up\u003c/h2>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13882681/we-all-know-a-karen-when-we-see-one-now-we-need-to-talk-about-kevin\">Karens\u003c/a>: Airplane Karens. In-store Karens. Neighbor Karens. Park Karens. Yes, we’ve mentioned you before and, lo, you’re still here. You’ve had your day. You’ve had your years. Meds. Therapy. Whatever it takes.\u003c/p>\n\u003cp>Sanewashing: Advance the power of facts. End the false equivalence. In all things. That is all.\u003c/p>\n\u003cp>Anti-aging products for young girls: Damage has been done. Parents, get a grip.\u003c/p>\n\u003cp>Paging Dr. Beat: Emergency, emergency! All you walking-in-place video creators showing off your scrubs and your jammies and your entire wardrobes. Tired content. Cut it out.\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@verarosalind/video/7396855444674759979\" data-video-id=\"7396855444674759979\">\n\u003csection>\u003ca title=\"@verarosalind\" href=\"https://www.tiktok.com/@verarosalind?refer=embed\" target=\"_blank\" rel=\"noopener\">@verarosalind\u003c/a> which look is your fav? \u003ca title=\"deminstyle\" href=\"https://www.tiktok.com/tag/deminstyle?refer=embed\" target=\"_blank\" rel=\"noopener\">#deminstyle\u003c/a> \u003ca title=\"drbeat\" href=\"https://www.tiktok.com/tag/drbeat?refer=embed\" target=\"_blank\" rel=\"noopener\">#drbeat\u003c/a> \u003ca title=\"emergency\" href=\"https://www.tiktok.com/tag/emergency?refer=embed\" target=\"_blank\" rel=\"noopener\">#emergency\u003c/a> \u003ca title=\"emergencydancetrend\" href=\"https://www.tiktok.com/tag/emergencydancetrend?refer=embed\" target=\"_blank\" rel=\"noopener\">#emergencydancetrend\u003c/a> \u003ca title=\"modelsoftiktok\" href=\"https://www.tiktok.com/tag/modelsoftiktok?refer=embed\" target=\"_blank\" rel=\"noopener\">#modelsoftiktok\u003c/a> \u003ca title=\"♬ 911 Emergency - Carl\" href=\"https://www.tiktok.com/music/911-Emergency-7371044842366978064?refer=embed\" target=\"_blank\" rel=\"noopener\">♬ 911 Emergency – Carl\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>New year. New song. New memes.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "best-bay-area-theater-2024",
"title": "The Best Bay Area Theater We Saw in 2024",
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"content": "\u003cp>There’s no denying that theater continued to face massive obstacles in 2024. With audiences still choosing to stay home in large numbers, fundraising campaigns were often as common as season announcements, while consequential closures of legacy institutions stung the ecosystem as a whole.\u003c/p>\n\u003cp>Still, companies large and small continued to crank out successful, fantastic productions in the face of brutal headwinds — with some of the nation’s biggest touring productions adding cherries to our already massive regional theatrical sundae. \u003c/p>\n\u003cp>Below, theater critics and regular KQED contributors Nicole Gluckstern and David John Chávez share their most significant Bay Area theater happenings of 2024.\u003c/p>\n\u003cfigure id=\"attachment_13968854\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/unnamed.jpg\" alt=\"\" width=\"2000\" height=\"1248\" class=\"size-full wp-image-13968854\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/unnamed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/unnamed-800x499.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/unnamed-1020x636.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/unnamed-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/unnamed-768x479.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/unnamed-1536x958.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/unnamed-1920x1198.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jim (William Thomas Hodgson), Amanda (Susi Damilano), Laura (Nicole Javier) and Tom (Jomar Tagatac) in ‘The Glass Menagerie’ at San Francisco Playhouse. \u003ccite>(Jessica Palopoli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Truth of Illusion in ‘Glass Menagerie’ at SF Playhouse\u003c/h2>\n\u003cp>At \u003ca href=\"https://www.kqed.org/arts/tag/san-francisco-playhouse\">San Francisco Playhouse\u003c/a> in May, \u003cem>The Glass Menagerie\u003c/em>, one of Tennessee Williams’ most produced and haunting plays, served a master class in how to modernize a classic. First, find themes of relevance in our modern world through the fraught existence of the Wingfield family and its illusory protagonist Tom. Second, collect a bang-up cast of terrific performers. Third, let them cook.\u003c/p>\n\u003cp>This production wrangled such explosiveness out of the piercing text, extracting lessons of race, class and sexuality in flaring new ways. Jeffrey Lo’s direction of his diverse cast bubbled to a firmly unifying crescendo, easily making this one of the year’s most thrilling locally produced pieces of theater. The show blew me away at every turn.\u003cem>—David John Chávez\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13968851\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/unnamed-1.jpg\" alt=\"\" width=\"2000\" height=\"1265\" class=\"size-full wp-image-13968851\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/unnamed-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/unnamed-1-800x506.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/unnamed-1-1020x645.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/unnamed-1-160x101.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/unnamed-1-768x486.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/unnamed-1-1536x972.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/unnamed-1-1920x1214.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Lisa Ramirez and the cast of ‘Angels in America.’\u003cbr> \u003ccite>(Ben Krantz Studio)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A Soaring ‘Angels in America’\u003c/h2>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/oakland-theater-project\">Oakland Theater Project\u003c/a>’s exquisitely distilled \u003cem>Angels in America\u003c/em> stomped, glided and soared across the stage at Marin Shakespeare Company’s new digs in San Rafael. Remounts of this heaving contemporary epic with deep Bay Area roots are always highly anticipated events around these parts, and OTP’s version was a welcome addition to the firmament. From the inspired casting (including company stalwarts J Jha as Prior, and Lisa Ramirez as the Angel) to the bare-bones but carefully curated design choices and the full-throated demand for \u003cem>more life\u003c/em>, this production felt utterly of this time. That’s despite ostensibly being set in an earlier, similarly fraught era, when public health, personal faith and political machination collided in generationally shifting ways. Kudos to director Michael Moran for taking a big swing, and hitting a theatrical home run.\u003cem>—Nicole Gluckstern\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13968847\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Mexodus_Production_2024_1581.jpg\" alt=\"\" width=\"2000\" height=\"1331\" class=\"size-full wp-image-13968847\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Mexodus_Production_2024_1581.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Mexodus_Production_2024_1581-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Mexodus_Production_2024_1581-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Mexodus_Production_2024_1581-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Mexodus_Production_2024_1581-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Mexodus_Production_2024_1581-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Mexodus_Production_2024_1581-1920x1278.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Brian Quijada and Nygel D. Robinson in ‘Mexodus.’\u003cbr> \u003ccite>(Ben Krantz Studio)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Solidarity Shined in Berkeley Rep’s ‘Mexodus’\u003c/h2>\n\u003cp>If one of theater’s goals is to break new ground while bringing in a younger and more diverse patron base, then \u003ca href=\"https://www.kqed.org/arts/tag/berkeley-rep\">Berkeley Rep\u003c/a>’s production of \u003cem>Mexodus\u003c/em> was wildly successful. Channeling the art form of live looping in this two-hander, Brian Quijada and Nygel D. Robinson fluttered and flew all over the stage while dropping sick beats everywhere. Their musical magic traversed multiple genres: hip-hop, reggaeton, bachata and classic Mexican bolero. In our fraught times, the message of unity between a Black slave and brown soldier through the Underground Railroad’s little known pathway into Mexico may be the show’s most hopeful lesson.\u003cem>—David John Chávez\u003c/em> \u003c/p>\n\u003cfigure id=\"attachment_13968855\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/01-Flyaway-Productions-Ode-to-Jane-Ai-Yin-Adelski-Laura-Elaine-Ellis-Jhia-Jackson-Photo-by-Brechin-Flournoy.jpg\" alt=\"\" width=\"2000\" height=\"1500\" class=\"size-full wp-image-13968855\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/01-Flyaway-Productions-Ode-to-Jane-Ai-Yin-Adelski-Laura-Elaine-Ellis-Jhia-Jackson-Photo-by-Brechin-Flournoy.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/01-Flyaway-Productions-Ode-to-Jane-Ai-Yin-Adelski-Laura-Elaine-Ellis-Jhia-Jackson-Photo-by-Brechin-Flournoy-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/01-Flyaway-Productions-Ode-to-Jane-Ai-Yin-Adelski-Laura-Elaine-Ellis-Jhia-Jackson-Photo-by-Brechin-Flournoy-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/01-Flyaway-Productions-Ode-to-Jane-Ai-Yin-Adelski-Laura-Elaine-Ellis-Jhia-Jackson-Photo-by-Brechin-Flournoy-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/01-Flyaway-Productions-Ode-to-Jane-Ai-Yin-Adelski-Laura-Elaine-Ellis-Jhia-Jackson-Photo-by-Brechin-Flournoy-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/01-Flyaway-Productions-Ode-to-Jane-Ai-Yin-Adelski-Laura-Elaine-Ellis-Jhia-Jackson-Photo-by-Brechin-Flournoy-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/01-Flyaway-Productions-Ode-to-Jane-Ai-Yin-Adelski-Laura-Elaine-Ellis-Jhia-Jackson-Photo-by-Brechin-Flournoy-1920x1440.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Ai Yin Adelski, Laura Elaine Ellis and Jhia Jackson in Flyaway Productions’ ‘Ode to Jane.’ \u003ccite>(Brechin Flournoy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Dance Dance Revolution\u003c/h2>\n\u003cp>Election years seem to generate desire for two very different kinds of works: the resolutely political, and the resolutely \u003cem>not\u003c/em>. For the former, I found solace and solidarity emanating from the dance community. Standouts included Flyaway Productions’ \u003cem>\u003ca href=\"https://www.tenderloinmuseum.org/public-programs-2024-2/10/4-12/ode-to-jane\">Ode to Jane\u003c/a>\u003c/em>, in which a fierce cohort of aerial performers scaled the walls of the Tenderloin’s Cadillac Hotel and soared over the streets to audio of abortion rights activists, community activators and a stirring score by Xoa Asa.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Meanwhile, the return of Dance Mission Theater’s \u003ca href=\"https://dancemissiontheater.org/2024/07/15/oct-13-nov-15-d-i-r-t-festival-2024/\">D.I.R.T. (Dance in Revolt-ing Times) Festival\u003c/a> included free outdoor activations in the form of embodied invocations led by Dance Brigade and guest artists, followed by pay-what-you-could indoor performances by powerhouse radicals such as the Embodiment Project, amara tabor-smith and Sara Shelton Mann. And over at Z Space, the barrier-breaking \u003ca href=\"https://seandorseydance.com/\">Sean Dorsey Dance\u003c/a> celebrated 20 years of cultivating trans and queer resistance via life-affirming, liberatory dance with a retrospective of early works.\u003cem>—Nicole Gluckstern\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13968852\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/unnamed-3.jpg\" alt=\"\" width=\"2000\" height=\"1548\" class=\"size-full wp-image-13968852\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/unnamed-3.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/unnamed-3-800x619.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/unnamed-3-1020x789.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/unnamed-3-160x124.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/unnamed-3-768x594.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/unnamed-3-1536x1189.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/unnamed-3-1920x1486.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Wiley Naman Strasser and Sam Jackson in ‘As You Like It’ at Cal Shakes — the final production in the company’s history. \u003ccite>(Craig Isaacs/BlueGoo photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Continued Rise (With One Tough Fall) of Outdoor Theater\u003c/h2>\n\u003cp>The Bay Area’s temperate summer climate makes us the envy of those who sweat, swelter and shrink elsewhere in the country. Sure, it’s a little chilly at night, but the cool fog rolling in is the stuff from which legendary songs are made. This year, summertime shows like \u003cem>Jersey Boys\u003c/em> at Oakland’s picturesque Woodminster Summer Musicals or the San Francisco Chinatown-inspired production of \u003cem>The Comedy of Errors\u003c/em> at Silicon Valley Shakespeare were dazzling in both spectacle and scenery. \u003c/p>\n\u003cp>Sadly, one of the Bay’s most perfect outdoor venues has officially \u003ca href=\"https://www.kqed.org/arts/13966472/cal-shakes-to-close-down-citing-insurmountable-financial-impasse\">shut down for good\u003c/a>, and it’s impossible to overstate the impact on the Bay Area’s theater ecosystem. Many efforts were made to save \u003ca href=\"https://www.kqed.org/arts/tag/cal-shakes\">California Shakespeare Theater\u003c/a>, including a $350,000 fundraiser to bankroll its final production. Even a softening of the budget and a \u003ca href=\"https://www.kqed.org/arts/13952927/zendaya-cal-shakes-north-star-fund-donation\">$100,000 gift from superstar (and Cal Shakes alum) Zendaya\u003c/a> could not stave off the inevitable. It’s depressing to think that Bruns Memorial Amphitheatre in Orinda, whose last production was \u003cem>As You Like It\u003c/em>, will now move forward only as a beautiful forest, “sans teeth, sans eyes, sans taste, sans everything.”\u003cem>—David John Chávez\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13968849\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Mimetroupe.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13968849\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Mimetroupe.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Mimetroupe-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Mimetroupe-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Mimetroupe-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Mimetroupe-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Mimetroupe-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Mimetroupe-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">(L-R) Andre Amarotico, Michael Gene Sullivan, Mikki Johnson in the San Francisco Mime Troupe’s production of ‘American Dreams.’ \u003ccite>(Mike Melnyk)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Go Out(side) and Play\u003c/h2>\n\u003cp>Speaking of the great outdoors, it’s been a particularly good year to take in a performance al fresco. From the joys of witnessing a mesmerizing Edris Cooper-Anifowoshe wreak magical havoc in SF Shakes’ \u003cem>\u003ca href=\"https://sfshakes.org/performance/free-shakes/tempest/\">The Tempest\u003c/a>\u003c/em>, to the solace of SF Mime Troupe’s election-year production \u003cem>\u003ca href=\"https://www.sfmt.org/show-archive/american-dreams\">American Dreams\u003c/a>\u003c/em>, to a chance encounter with an afterlife-themed play — \u003cem>\u003ca href=\"https://www.dayofthedeadsf.org/skateboarding-through-bardos\">Skateboarding Through Bardos\u003c/a>\u003c/em> — during the Día de Los Muertos celebrations at Potrero del Sol Park, there were more than enough opportunities to scratch the theatre-going itch outside.\u003c/p>\n\u003cp>A couple of way-outside-the-black-box concepts that I hope make a comeback next year are San Francisco’s mid-Market block parties, \u003cem>\u003ca href=\"https://www.marketstreetarts.org/unstaged\">Unstaged\u003c/a>\u003c/em>, which included a rollicking “jazz club” aboard the F-Market train, and the delightful, kid-oriented \u003ca href=\"https://www.pineconesandportals.com/aiw2024\">Pinecones and Portals\u003c/a> “Hiking Theater Company” which holds its performances in East Bay parks. Audiences follow the action literally along woodland trails, or huddle together around campfires for music, stories, and s’mores. How cool is that?\u003cem>—Nicole Gluckstern\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13968856\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Paradise_LaLengua_ManuelOrbegozo-150.jpg\" alt=\"\" width=\"2000\" height=\"1459\" class=\"size-full wp-image-13968856\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Paradise_LaLengua_ManuelOrbegozo-150.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Paradise_LaLengua_ManuelOrbegozo-150-800x584.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Paradise_LaLengua_ManuelOrbegozo-150-1020x744.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Paradise_LaLengua_ManuelOrbegozo-150-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Paradise_LaLengua_ManuelOrbegozo-150-768x560.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Paradise_LaLengua_ManuelOrbegozo-150-1536x1121.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Paradise_LaLengua_ManuelOrbegozo-150-1920x1401.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Dyana Diaz and Iris Diaz in ‘Paradise’ at La Lengua Teatro en Español in September.\u003cbr> \u003ccite>(Manuel Orbegozo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Cinco Años de la Lengua\u003c/h2>\n\u003cp>Producing theater in San Francisco can be viciously difficult and cost-restrictive, often quickly turning grand openings in grand closings. Fortunately, Virginia M. Blanco didn’t get that message. Blanco’s company, La Lengua Teatro en Español, continues to find new ways forward, with a September run of their critically-acclaimed, world premiere production \u003cem>Paradise\u003c/em> by Tere Martínez playing to sold out houses at the Mission’s Brava Theater Center studio space.\u003c/p>\n\u003cp>Blanco, a native Argentinian and the executive artistic director and founder of the company, has poured heart and soul into the venture, surrounding herself with a terrific team of like-minded, passionate creatives who’ve tapped into the Bay’s massive Spanish-speaking citizenry. The company is celebrating their fifth year of existence, and are now in a \u003ca href=\"https://givebutter.com/lalengua5years/davidmolina\">critical campaign\u003c/a> to secure funding for 2025. Despite the company being around since 2019, it certainly feels like they’re just getting started.\u003cem>—David John Chávez\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13968850\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/SFP_MyHomeOnTheMoon_JessicaPalopoli_2.jpg\" alt=\"\" width=\"2000\" height=\"1331\" class=\"size-full wp-image-13968850\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/SFP_MyHomeOnTheMoon_JessicaPalopoli_2.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/SFP_MyHomeOnTheMoon_JessicaPalopoli_2-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/SFP_MyHomeOnTheMoon_JessicaPalopoli_2-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/SFP_MyHomeOnTheMoon_JessicaPalopoli_2-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/SFP_MyHomeOnTheMoon_JessicaPalopoli_2-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/SFP_My