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"content": "\u003cp>Inspiration can spark in the most mundane circumstances. In 1964, a young composer named Terry Riley was on his way to work — playing ragtime piano at San Francisco’s Gold Street Saloon — when he had a light bulb moment that would alter the American musical landscape. A tiny, hiccuping, 2-note seed unexpectedly came to him.\u003c/p>\n\u003cp>“I was riding to work on the bus when I heard this first line come into my consciousness like somebody was playing it to me,” Riley recalls. “And I got quite excited, so as soon as I got off work that night, I went home and wrote down the first line.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=qzmi7Wm10Y0\u003c/p>\n\u003cp>That seed blossomed into \u003cem>In C\u003c/em>, a piece which essentially launched the musical movement later known as minimalism.\u003c/p>\n\u003cp>In the early ’60s, Riley was among a cohort of free-thinking West Coast musicians experimenting with music, especially tape loops, and psychedelic drugs. The rest of \u003cem>In C\u003c/em> came to him quickly, but even after he had gathered all the musical ingredients, the piece wasn’t quite ready for prime time.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“When we first started rehearsing it, nobody, including me, knew how to play it,” Riley says. “I had a kind of idea of how it should sound, but to rehearse it and actually turn it into music took a bit of doing.”\u003c/p>\n\u003cp>It took some doing because one of the things that makes \u003cem>In C\u003c/em> innovative is that it carries so few guidelines. And that’s the idea — the composer gives up control to the performers. The score is just a single page containing 53 short musical “riffs” that any number of musicians can play in order, but at their discretion. Every performance, by design, will sound completely different.\u003c/p>\n\u003cp>[aside postid='arts_13967652']One challenge the players faced in those early rehearsals was the lack of a solid pulse, a kind of click track to keep the players together. Enter Steve Reich. He was among the musicians who helped Riley introduce the piece, along with other soon-to-be-legendary composers Morton Subotnick and Pauline Oliveros.\u003c/p>\n\u003cp>William Robin, a University of Maryland music professor, has written about the history of the music in his book \u003cem>On Minimalism — Documenting a Musical Movement\u003c/em>, co-authored with Kerry O’Brien. He believes Reich’s contribution to \u003cem>In C\u003c/em> can’t be overstated. “Reich makes a simple but profound suggestion: What if a pianist simply plays two Cs high on the keyboard in octaves to start the piece and go continuously throughout?” Robin notes. “Basically it functions as a human metronome.” That pulse, he adds, is fundamental to the sound of \u003cem>In C\u003c/em>, giving it an infectious groove.\u003c/p>\n\u003cfigure id=\"attachment_13967715\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967715\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/riley.png\" alt=\"A young man in a shirt and vest plays a piano inside a bar.\" width=\"2000\" height=\"1488\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/riley.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/riley-800x595.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/riley-1020x759.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/riley-160x119.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/riley-768x571.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/riley-1536x1143.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/riley-1920x1428.png 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Terry Riley in 1961 at San Francisco’s Gold Street Saloon, where he played ragtime piano. Three years later, on a bus ride to the Saloon, he first formed the idea for ‘In C.’ \u003ccite>(Terry Riley Archives)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Finally, on Nov. 4, 1964, Riley and his group of like-minded musicians debuted \u003cem>In C\u003c/em> at San Francisco’s Tape Music Center, a haven of electronic and new music. Four days later, the headline for a review of the concert in the \u003cem>San Francisco Chronicle\u003c/em> read: “Music Like none Other on Earth.” The reviewer, Alfred Frankenstein, ended by declaring \u003cem>In C\u003c/em> “the evening’s masterpiece.”\u003c/p>\n\u003cp>Cellist Maya Beiser agrees. She first heard \u003cem>In C\u003c/em> as a 17-year-old high schooler who stumbled across the LP in a record shop. “I immediately felt that it was such a genius thing, akin to E=mc\u003csup>2\u003c/sup>,” she says. “The idea of an open score was just so beautiful and revolutionary. I was blown away by that simple idea and by the notion of freedom that it presented.”\u003c/p>\n\u003cp>[aside postid='arts_13967625']Beiser released her own unique version of \u003cem>In C\u003c/em> earlier this year. Her experiment began as an off-the-cuff gift for Riley, then after his blessing, it blossomed into a recording.\u003c/p>\n\u003cp>Appropriate to Riley’s improvisatory way of thinking, Beiser and her recording engineer began with a mostly blank slate, just Riley’s spartan score. “We started to kind of loop all those melodic modules and I literally found my way into it as I was going because I deliberately didn’t want to decide anything,” she recalls. Armed with just her cello, a looping machine and a pair of percussionists, Beiser emphasizes the deep, sometimes headbanging, grooves inherent in the music.\u003c/p>\n\u003cp>“She broke it down into sections and integrated each section very distinctly,” Riley says. “Something I hadn’t thought of doing myself. There’s always somebody finding new ways to use these materials.” In Beiser’s rendition, there’s a grungy section with whiffs of Led Zeppelin’s “Kashmir,” a vocal passage interlacing her voice and cello in a nod to the medieval hocket style of singing, and plenty of lovely droning with the low C string of Beiser’s processed cello ricocheting off the drummers.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=kMXABhDw5zw\u003c/p>\n\u003cfigure class=\"wp-block-embed is-type-video\">\u003c/figure>\n\u003cp>Unlike Beiser’s mostly solo approach, \u003cem>In C\u003c/em> is usually played by at least a dozen or more musicians, which emphasizes its communal powers. “One of the things that \u003cem>In C\u003c/em> has done over the years, has helped to connect people of different backgrounds,” Riley says.\u003c/p>\n\u003cp>That connection mushroomed in 1968, when Riley recorded \u003cem>In C\u003c/em> for Columbia Records. Suddenly, this strange new music was catapulted directly into the mainstream, while taking aim at the new, youthful counterculture. \u003cem>In C\u003c/em> was on the map, with an album that actually \u003cem>contained\u003c/em> a map to the piece itself.\u003c/p>\n\u003cp>“This was an incredibly popular recording,” Robin says. “It stayed in Columbia’s catalog, unlike plenty of other avant-garde records. And one of the cool things is that it actually prints the full score for the piece on the sleeve of the record. So they were empowering people, potentially, to actually organize their own performances of this piece.”\u003c/p>\n\u003cp>This was at a time, Robin points out, “when a lot of American composition is extremely inaccessible in terms of the musical language — composers writing highly atonal, cerebral scientific music.” \u003cem>In C\u003c/em>, in its singular way, thumbed its nose at the academy.\u003c/p>\n\u003cp>[aside postid='arts_13967509']“Terry just came into it from a completely different place,” Beiser notes. “Because he studied in India, he was influenced by Indian classical music, by African music, by all these other non-Western traditions, and of course, free jazz improvisation.”\u003c/p>\n\u003cp>Improvisation is at the heart of much of Riley’s music. And one way in which \u003cem>In C\u003c/em> takes a page from Indian classical music is that within strict parameters there’s room for the player to make their own decisions.\u003c/p>\n\u003cp>“What makes \u003cem>In C\u003c/em> such a landmark work is that it is kind of right at the center of pushing the boundaries of what music could be,” Robin says, “while also having this incredibly rich and attractive soundscape that’s groovy in a way that pop music was groovy in the mid-’60s.”\u003c/p>\n\u003cp>\u003cem>In C\u003c/em> has been groovy enough to attract a surprisingly wide array of musicians. A brief survey of recordings includes: an\u003ca href=\"https://www.youtube.com/watch?v=YGCp4PPaRSg&t=181s\"> orchestra of Chinese instruments\u003c/a> from Shanghai,\u003ca href=\"https://www.youtube.com/watch?v=iDd9WY9ddDs\"> musicians\u003c/a> from West Africa, a Swiss\u003ca href=\"https://www.youtube.com/watch?v=fQpHLbDI-b4&list=PLOpS8ze-MAmFecrwk9N0szxKWr4A5O0rS&index=8\"> industrial band\u003c/a>,\u003ca href=\"https://www.youtube.com/watch?v=gO5xa01tfV8\"> Indian musicians\u003c/a> from Brooklyn, Japanese\u003ca href=\"https://www.youtube.com/watch?v=fH0ml4yp-Rs\"> acid rock\u003c/a>, a group of\u003ca href=\"https://www.youtube.com/watch?v=Z7FmozBZBG8\"> 10 harpists\u003c/a> in Holland and an orchestra of\u003ca href=\"https://www.youtube.com/watch?v=LmttdbOW3Ys\"> electric guitars\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=LmttdbOW3Ys\u003c/p>\n\u003cp>Riley’s piece also works perfectly in amateur settings. With his students, Robin organizes annual performances of \u003cem>In C\u003c/em>. “It is just one of those joyful experiences as a musician,” he says. “The nature of the music — it is at once fully notated, but it has the sound, the ethos, of this kind of communal jam session, where musicians are repeating these little riffs over and over and over again.” At Robin’s most recent performance in May, bassoon, tuba and piano traded riffs with banjo, vibraphones and Robin’s own alto sax, amid a wash of another dozen players.\u003c/p>\n\u003cp>Even at the beginning, Riley understood how \u003cem>In C\u003c/em> was influential. “Other composers were taking an interest in what I was doing,” he remembers. “So I knew that it was going to have some significance.”\u003c/p>\n\u003cp>[aside postid='arts_13967351']It turned out to be game-changing. Both Philip Glass and Steve Reich quickly embraced Riley’s evolving repetition. It’s hard to imagine minimalist classics like Glass’\u003ca href=\"https://www.youtube.com/watch?v=pRerJeYmUgY\"> \u003cem>Einstein on the Beach\u003c/em>\u003c/a> from 1976, or Reich’s\u003ca href=\"https://www.youtube.com/watch?v=3ou9J844io0\"> \u003cem>Music for 18 Musicians\u003c/em>\u003c/a>, completed that same year, without \u003cem>In C\u003c/em>. And today, the music is all around us, from Taylor Swift’s song “\u003ca href=\"https://www.youtube.com/watch?v=HpxX4ZE4KWE\">Peace\u003c/a>,” with its copycat Riley pulse, to music for television, film and\u003ca href=\"https://www.youtube.com/watch?v=JAFIWlEUXoQ\"> commercials\u003c/a>.\u003c/p>\n\u003cp>While we’re not living in the same counterculture-fueled moment as Riley was when he wrote his most famous piece, there is a strong appetite today for ambient and electronic music you can bliss out to, and for performances of \u003cem>In C\u003c/em> itself. “People want to go hear an hour of transcendent music,” Robin suggests. “And it’s a tribute to this lightning rod moment for Riley, where he put it all down to the endurance of minimalism as an artistic movement that’s been so profoundly influential on popular culture.”\u003c/p>\n\u003cp>At 89, Riley still composes every day, with a view of Mount Fuji from his home in Japan. And he doesn’t mind looking back to that bus ride so long ago, and the spark of inspiration that helped ignite a musical movement with a piece of music that, after 60 years, continues to fascinate new audiences and evolve in the hands of anyone who plays it.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“\u003cem>In C\u003c/em> is like one of your children,” he says with a wry chuckle. “They went out, became famous, did some good things, met some other people. And turned out to be something different than you imagined at the beginning.”\u003c/p>\n\n",
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"headline": "‘In C’ Forever: The Eternal Evolution of Terry Riley’s Minimalist Masterpiece",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Inspiration can spark in the most mundane circumstances. In 1964, a young composer named Terry Riley was on his way to work — playing ragtime piano at San Francisco’s Gold Street Saloon — when he had a light bulb moment that would alter the American musical landscape. A tiny, hiccuping, 2-note seed unexpectedly came to him.\u003c/p>\n\u003cp>“I was riding to work on the bus when I heard this first line come into my consciousness like somebody was playing it to me,” Riley recalls. “And I got quite excited, so as soon as I got off work that night, I went home and wrote down the first line.”\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/qzmi7Wm10Y0'\n title='//www.youtube.com/embed/qzmi7Wm10Y0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>That seed blossomed into \u003cem>In C\u003c/em>, a piece which essentially launched the musical movement later known as minimalism.\u003c/p>\n\u003cp>In the early ’60s, Riley was among a cohort of free-thinking West Coast musicians experimenting with music, especially tape loops, and psychedelic drugs. The rest of \u003cem>In C\u003c/em> came to him quickly, but even after he had gathered all the musical ingredients, the piece wasn’t quite ready for prime time.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“When we first started rehearsing it, nobody, including me, knew how to play it,” Riley says. “I had a kind of idea of how it should sound, but to rehearse it and actually turn it into music took a bit of doing.”\u003c/p>\n\u003cp>It took some doing because one of the things that makes \u003cem>In C\u003c/em> innovative is that it carries so few guidelines. And that’s the idea — the composer gives up control to the performers. The score is just a single page containing 53 short musical “riffs” that any number of musicians can play in order, but at their discretion. Every performance, by design, will sound completely different.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>One challenge the players faced in those early rehearsals was the lack of a solid pulse, a kind of click track to keep the players together. Enter Steve Reich. He was among the musicians who helped Riley introduce the piece, along with other soon-to-be-legendary composers Morton Subotnick and Pauline Oliveros.\u003c/p>\n\u003cp>William Robin, a University of Maryland music professor, has written about the history of the music in his book \u003cem>On Minimalism — Documenting a Musical Movement\u003c/em>, co-authored with Kerry O’Brien. He believes Reich’s contribution to \u003cem>In C\u003c/em> can’t be overstated. “Reich makes a simple but profound suggestion: What if a pianist simply plays two Cs high on the keyboard in octaves to start the piece and go continuously throughout?” Robin notes. “Basically it functions as a human metronome.” That pulse, he adds, is fundamental to the sound of \u003cem>In C\u003c/em>, giving it an infectious groove.\u003c/p>\n\u003cfigure id=\"attachment_13967715\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967715\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/riley.png\" alt=\"A young man in a shirt and vest plays a piano inside a bar.\" width=\"2000\" height=\"1488\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/riley.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/riley-800x595.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/riley-1020x759.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/riley-160x119.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/riley-768x571.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/riley-1536x1143.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/riley-1920x1428.png 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Terry Riley in 1961 at San Francisco’s Gold Street Saloon, where he played ragtime piano. Three years later, on a bus ride to the Saloon, he first formed the idea for ‘In C.’ \u003ccite>(Terry Riley Archives)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Finally, on Nov. 4, 1964, Riley and his group of like-minded musicians debuted \u003cem>In C\u003c/em> at San Francisco’s Tape Music Center, a haven of electronic and new music. Four days later, the headline for a review of the concert in the \u003cem>San Francisco Chronicle\u003c/em> read: “Music Like none Other on Earth.” The reviewer, Alfred Frankenstein, ended by declaring \u003cem>In C\u003c/em> “the evening’s masterpiece.”\u003c/p>\n\u003cp>Cellist Maya Beiser agrees. She first heard \u003cem>In C\u003c/em> as a 17-year-old high schooler who stumbled across the LP in a record shop. “I immediately felt that it was such a genius thing, akin to E=mc\u003csup>2\u003c/sup>,” she says. “The idea of an open score was just so beautiful and revolutionary. I was blown away by that simple idea and by the notion of freedom that it presented.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Beiser released her own unique version of \u003cem>In C\u003c/em> earlier this year. Her experiment began as an off-the-cuff gift for Riley, then after his blessing, it blossomed into a recording.\u003c/p>\n\u003cp>Appropriate to Riley’s improvisatory way of thinking, Beiser and her recording engineer began with a mostly blank slate, just Riley’s spartan score. “We started to kind of loop all those melodic modules and I literally found my way into it as I was going because I deliberately didn’t want to decide anything,” she recalls. Armed with just her cello, a looping machine and a pair of percussionists, Beiser emphasizes the deep, sometimes headbanging, grooves inherent in the music.\u003c/p>\n\u003cp>“She broke it down into sections and integrated each section very distinctly,” Riley says. “Something I hadn’t thought of doing myself. There’s always somebody finding new ways to use these materials.” In Beiser’s rendition, there’s a grungy section with whiffs of Led Zeppelin’s “Kashmir,” a vocal passage interlacing her voice and cello in a nod to the medieval hocket style of singing, and plenty of lovely droning with the low C string of Beiser’s processed cello ricocheting off the drummers.\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/kMXABhDw5zw'\n title='//www.youtube.com/embed/kMXABhDw5zw'\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>Unlike Beiser’s mostly solo approach, \u003cem>In C\u003c/em> is usually played by at least a dozen or more musicians, which emphasizes its communal powers. “One of the things that \u003cem>In C\u003c/em> has done over the years, has helped to connect people of different backgrounds,” Riley says.\u003c/p>\n\u003cp>That connection mushroomed in 1968, when Riley recorded \u003cem>In C\u003c/em> for Columbia Records. Suddenly, this strange new music was catapulted directly into the mainstream, while taking aim at the new, youthful counterculture. \u003cem>In C\u003c/em> was on the map, with an album that actually \u003cem>contained\u003c/em> a map to the piece itself.\u003c/p>\n\u003cp>“This was an incredibly popular recording,” Robin says. “It stayed in Columbia’s catalog, unlike plenty of other avant-garde records. And one of the cool things is that it actually prints the full score for the piece on the sleeve of the record. So they were empowering people, potentially, to actually organize their own performances of this piece.”\u003c/p>\n\u003cp>This was at a time, Robin points out, “when a lot of American composition is extremely inaccessible in terms of the musical language — composers writing highly atonal, cerebral scientific music.” \u003cem>In C\u003c/em>, in its singular way, thumbed its nose at the academy.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“Terry just came into it from a completely different place,” Beiser notes. “Because he studied in India, he was influenced by Indian classical music, by African music, by all these other non-Western traditions, and of course, free jazz improvisation.”\u003c/p>\n\u003cp>Improvisation is at the heart of much of Riley’s music. And one way in which \u003cem>In C\u003c/em> takes a page from Indian classical music is that within strict parameters there’s room for the player to make their own decisions.\u003c/p>\n\u003cp>“What makes \u003cem>In C\u003c/em> such a landmark work is that it is kind of right at the center of pushing the boundaries of what music could be,” Robin says, “while also having this incredibly rich and attractive soundscape that’s groovy in a way that pop music was groovy in the mid-’60s.”\u003c/p>\n\u003cp>\u003cem>In C\u003c/em> has been groovy enough to attract a surprisingly wide array of musicians. A brief survey of recordings includes: an\u003ca href=\"https://www.youtube.com/watch?v=YGCp4PPaRSg&t=181s\"> orchestra of Chinese instruments\u003c/a> from Shanghai,\u003ca href=\"https://www.youtube.com/watch?v=iDd9WY9ddDs\"> musicians\u003c/a> from West Africa, a Swiss\u003ca href=\"https://www.youtube.com/watch?v=fQpHLbDI-b4&list=PLOpS8ze-MAmFecrwk9N0szxKWr4A5O0rS&index=8\"> industrial band\u003c/a>,\u003ca href=\"https://www.youtube.com/watch?v=gO5xa01tfV8\"> Indian musicians\u003c/a> from Brooklyn, Japanese\u003ca href=\"https://www.youtube.com/watch?v=fH0ml4yp-Rs\"> acid rock\u003c/a>, a group of\u003ca href=\"https://www.youtube.com/watch?v=Z7FmozBZBG8\"> 10 harpists\u003c/a> in Holland and an orchestra of\u003ca href=\"https://www.youtube.com/watch?v=LmttdbOW3Ys\"> electric guitars\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/LmttdbOW3Ys'\n title='//www.youtube.com/embed/LmttdbOW3Ys'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Riley’s piece also works perfectly in amateur settings. With his students, Robin organizes annual performances of \u003cem>In C\u003c/em>. “It is just one of those joyful experiences as a musician,” he says. “The nature of the music — it is at once fully notated, but it has the sound, the ethos, of this kind of communal jam session, where musicians are repeating these little riffs over and over and over again.” At Robin’s most recent performance in May, bassoon, tuba and piano traded riffs with banjo, vibraphones and Robin’s own alto sax, amid a wash of another dozen players.\u003c/p>\n\u003cp>Even at the beginning, Riley understood how \u003cem>In C\u003c/em> was influential. “Other composers were taking an interest in what I was doing,” he remembers. “So I knew that it was going to have some significance.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>It turned out to be game-changing. Both Philip Glass and Steve Reich quickly embraced Riley’s evolving repetition. It’s hard to imagine minimalist classics like Glass’\u003ca href=\"https://www.youtube.com/watch?v=pRerJeYmUgY\"> \u003cem>Einstein on the Beach\u003c/em>\u003c/a> from 1976, or Reich’s\u003ca href=\"https://www.youtube.com/watch?v=3ou9J844io0\"> \u003cem>Music for 18 Musicians\u003c/em>\u003c/a>, completed that same year, without \u003cem>In C\u003c/em>. And today, the music is all around us, from Taylor Swift’s song “\u003ca href=\"https://www.youtube.com/watch?v=HpxX4ZE4KWE\">Peace\u003c/a>,” with its copycat Riley pulse, to music for television, film and\u003ca href=\"https://www.youtube.com/watch?v=JAFIWlEUXoQ\"> commercials\u003c/a>.\u003c/p>\n\u003cp>While we’re not living in the same counterculture-fueled moment as Riley was when he wrote his most famous piece, there is a strong appetite today for ambient and electronic music you can bliss out to, and for performances of \u003cem>In C\u003c/em> itself. “People want to go hear an hour of transcendent music,” Robin suggests. “And it’s a tribute to this lightning rod moment for Riley, where he put it all down to the endurance of minimalism as an artistic movement that’s been so profoundly influential on popular culture.”\u003c/p>\n\u003cp>At 89, Riley still composes every day, with a view of Mount Fuji from his home in Japan. And he doesn’t mind looking back to that bus ride so long ago, and the spark of inspiration that helped ignite a musical movement with a piece of music that, after 60 years, continues to fascinate new audiences and evolve in the hands of anyone who plays it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“\u003cem>In C\u003c/em> is like one of your children,” he says with a wry chuckle. “They went out, became famous, did some good things, met some other people. And turned out to be something different than you imagined at the beginning.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>[dropcap]W[/dropcap]hen Benjamin Glover visited Chicago’s \u003ca href=\"https://www.atelier-chicago.com/\">Atelier\u003c/a> at the end of 2023, he didn’t know what to expect. He left a changed man.\u003c/p>\n\u003cp>Never having experienced a fine dining tasting menu before, Glover figured he would have to get McDonald’s on the way home — there was no way those tiny plates would do the trick. But over the course of the meal, his mind was fully blown, his spirit stimulated alongside his stomach’s satiation. The thoughtful sequencing of dishes conjured to mind music. “It was like eating my way through an album,” Glover says. “I wanted to make an album that sounded like a tasting menu.”\u003c/p>\n\u003cp>That’s because when Glover is not eating gourmet dinners, he performs as the rapper \u003ca href=\"https://www.instagram.com/blvcksvm/?hl=en\">Blvck Svm\u003c/a>. And he really did wind up creating an entire album that’s inspired by fine dining. It’s called \u003ci>michelinman\u003c/i>, and it drops on Nov. 11. In keeping with the theme, Glover shot the music videos for the album in upscale kitchens around the country, milling between sauciers and line cooks while he raps into a mic that drapes down from the ceiling.\u003c/p>\n\u003cp>Given Northern California’s fine-dining bona fides, it should come as no surprise that the project has strong Bay Area connections: Glover himself is based in Chicago, but one of the album’s main producers is from the East Bay. San Francisco fine dining restaurant \u003ca href=\"https://www.restaurantnisei.com/\">Nisei\u003c/a> gets a name drop on \u003ci>michelinman\u003c/i>’s first track, “greymatter,” and its kitchen — and kitchen team — is featured in the music video for the song.\u003c/p>\n\u003cp>The songs on \u003ci>michelinman\u003c/i> weave a concentric circle between high-level rapping and high-level cooking, bouncing between basketball references and tuna belly with ease. Tracks are riddled with samples from cooking shows and chefs pleading with diners to pay attention to their palate. On “irongate” Glover details the camel bone spoon he’ll use for Beluga caviar before comparing his duffel bag to a “Twix sans nougat.” On “mikealstott,” he raps in a near-whisper about how he will “trim the fat and drop it on the heat like a Pat Riley contract” — a reference to how the Miami Heat executive was notorious for monitoring his players’ body fat percentage.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=FAjb2ruk1SM\u003c/p>\n\u003cp>The songs are both about fine dining and not, shifting between instructions for searing meat and processing grief with ease. Through the 13-song, nearly 40-minute album, Glover’s flow is a low-rolling storm, breathless and quiet as each song’s larger picture emerges minute by minute.\u003c/p>\n\u003cp>Glover wrote the album between April and September of this year and shot the music videos in the same timeframe. Inspired by \u003ca href=\"https://www.instagram.com/fromtheblockperformance/\">From the Block Performance’s\u003c/a> viral outdoor rap videos, the music videos for \u003ci>michelinman \u003c/i>have a certain Humans of New York feeling to them, as strangers peel around the artist while he raps in public — in this case, inside prominent fine dining kitchens including Oklahoma City’s \u003ca href=\"https://www.nonesuchokc.com/\">NONESUCH\u003c/a> and \u003ca href=\"https://www.thebutcheryyeg.ca/\">The Butchery by RGE RD\u003c/a> in Alberta, Canada.\u003c/p>\n\u003cp>In the videos, Glover plays the part of an interloper praising the work he sees around him. In the one for “greymatter,” shot at Nisei in black and white, the kitchen crew makes quick work of several whole fish, slicing and deboning behind Glover in his puffy jacket. Over a tinkling piano loop, Glover waxes poetic about the Russian Hill restaurant’s raw fish preparations: “I ran out of excuses, I had to make something happen / Break a backend at Nisei or Momotaro / Sashimi otoro, chutoro, cleansing all of my sorrows / Soy sauce only an option if flavor need to be borrowed.” There’s a noir ambiance to the scene, Glover barely visible, the mic hanging in front of him an anchor through the rushing energy of the Nisei kitchen staff.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=488DcyAaXV4\u003c/p>\n\u003cp>Glover has been chasing his rap dreams since he was a kid in Pembroke Pines, Florida. Back then, he modeled himself after the Southern icon Lil Wayne — but that was just for fun during lunch. It was while he was a student at the University of Chicago, shaking like a leaf during his first performances, that he finally rapped in front of an actual audience. His handle’s changed over the years, finally landing on Blvck Svm as a nod to Cartoon Network’s \u003ci>Samurai Jack\u003c/i>. It’s also an homage to Yasuke, the \u003ca href=\"https://www.smithsonianmag.com/history/who-was-yasuke-japans-first-black-samurai-180981416/\">first Black samurai\u003c/a>.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cspan style=\"color: #2b2b2b;font-weight: 400\">[aside postID='arts_13907726']\u003c/span>\u003c/span>During the pandemic, Glover lost his day job as an assistant manager at the university’s gym just before his rap career started to go big: His 2020 single “\u003ca href=\"https://blvcksvm.bandcamp.com/track/bleach\">bleach\u003c/a>,” a brief, lyrically dense track, now has millions of streams.\u003c/p>\n\u003cp>For \u003ci>michelinman\u003c/i>, Glover linked up with Los Angeles–based producer MIKE SUMMERS, but he tapped Fremont musician Max He for sample interpolation. He has been working with Glover for about a year and says that while the Bay Area’s music scene is vast, not a lot of action happens in \u003ca href=\"https://www.kqed.org/arts/13965193/fremont-immigrant-suburb-idealism-my-hometown\">Fremont\u003c/a> — so he was starstruck, for instance, to be working on the same project as Terrace Martin, who plays sax on the album’s outro. “[Blvck Svm’s] music is about redefining luxury into something accessible,” He says, “not something reserved just for the upper class. He talks about the waiter sprinkling lemon pepper on his wings at Wing Stop in the same way he does about sashimi from Nisei.”\u003c/p>\n\u003cfigure id=\"attachment_13967664\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967664\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/blck-svm-nisei-chef.jpg\" alt=\"A rapper in a black puffy jacket poses with a chef in the kitchen of a fine dining restaurant.\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/blck-svm-nisei-chef.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/blck-svm-nisei-chef-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/blck-svm-nisei-chef-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/blck-svm-nisei-chef-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/blck-svm-nisei-chef-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/blck-svm-nisei-chef-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/blck-svm-nisei-chef-1920x1281.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Glover poses with Nisei chef-owner David Yoshimura. \u003ccite>(Courtesy of Blvck Svm)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For David Yoshimura, Nisei’s chef-owner, it was wonderful to be involved in the album at all. Nisei is a fitting restaurant to highlight on the topic of “accessible luxury” — after all, not many other San Francisco restaurants pair \u003ca href=\"https://sf.eater.com/2024/5/2/24133340/savory-mochi-san-francisco-restaurants\">caviar with mochi\u003c/a>. Glover had reached out to the \u003ca href=\"https://guide.michelin.com/us/en/california/san-francisco/restaurant/nisei\">Michelin-starred restaurant\u003c/a> directly via Instagram, and while a lot of people hit him up with offers to collaborate, Yoshimura was struck by the rapper’s politeness and professionalism. The shoot itself was an easy affair. There’s not usually much yelling in Nisei’s kitchen, he says, so they amped up the energy for the video.\u003c/p>\n\u003cp>Afterwards, Glover and He came in for dinner, and both of them raved about the mochi caviar course and the miso soup. “They were the nicest guests,” Yoshimura says. “And I think his album is going to be the first of its kind.”\u003c/p>\n\u003cfigure id=\"attachment_13967673\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967673\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/blck-svm-waterfront.jpg\" alt='A man in a red baseball cap and white \"A Timeless Ape\" T-shirt poses in front of the Chicago waterfront.' width=\"2000\" height=\"2500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/blck-svm-waterfront.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/blck-svm-waterfront-800x1000.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/blck-svm-waterfront-1020x1275.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/blck-svm-waterfront-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/blck-svm-waterfront-768x960.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/blck-svm-waterfront-1229x1536.jpg 1229w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/blck-svm-waterfront-1638x2048.jpg 1638w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/blck-svm-waterfront-1920x2400.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Glover in front of the Chicago waterfront. \u003ccite>(Michael Tinley, courtesy of Blvck Svm)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Of course, Glover is hardly the\u003ca href=\"https://www.kqed.org/arts/13955802/bay-area-rappers-food-lyrics-illustrations-e-40-larry-june\"> first rapper to consider food\u003c/a>. The late great MF Doom was famous for his lyrical odes to “Doritos, Cheetos or Fritos.” Earlier this fall, New York experimental rappers Phiik and Lungs put out a dense project called \u003ca href=\"https://pitchfork.com/reviews/albums/phiik-lungs-carrot-season/\">\u003ci>Carrot Season\u003c/i>\u003c/a> that includes a track about psychedelic herbal tea. And the Bay’s own Larry June raps about health food and orange juice, and even \u003ca href=\"https://brokeassstuart.com/2023/04/24/larry-june-and-the-alchemists-love-letter-to-the-bay-area-is-a-delight/\">owns a boba shop\u003c/a> in San Francisco.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cspan style=\"color: #2b2b2b;font-weight: 400\">[aside postID='arts_13955802,arts_13934248']\u003c/span>\u003c/span>But Glover hopes to be the first full bridge between the mediums — like a fan of flex rap finding a track that gets them deeper into hip-hop, or a diner who heads to Benu for the Instagram pic but leaves weeping like Keanu Reeves in \u003ci>Always Be My Maybe\u003c/i>. His inspirations include MF DOOM and the Griselda hip-hop collective (Boldy James is featured on the album). He cites Action Bronson as another muse, in the way he de-escalates luxurious experiences through irreverent, abstract bars.\u003c/p>\n\u003cp>Glover’s training to get to that level is, fittingly, spent at the chef’s table.\u003c/p>\n\u003cp>“All those things people see as art in food are also in rap. So I spend my time watching how they move through the space,” he says. “The timing, the precision.”\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>\u003ca href=\"https://too.fm/michelinman?fbclid=PAZXh0bgNhZW0CMTEAAaZwbE2w0QgkWzig03KGJJwvFGQh60VyVR65a7G7W0ZLRC1uzS1H7buao00_aem_JNNYZ0-t6kek9RcG8zCqtg\">michelinman\u003c/a> will be available to stream on all platforms on Nov. 11. \u003c/i>\u003c/p>\n\n",
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"excerpt": "The music videos take us inside some of the top fine dining kitchens in America — including Nisei in SF.",
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"title": "Blvck Svm’s ‘michelinman’ Might Be Hip-Hop’s First Fine-Dining Concept Album | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">W\u003c/span>\u003c/p>\u003cp>hen Benjamin Glover visited Chicago’s \u003ca href=\"https://www.atelier-chicago.com/\">Atelier\u003c/a> at the end of 2023, he didn’t know what to expect. He left a changed man.\u003c/p>\n\u003cp>Never having experienced a fine dining tasting menu before, Glover figured he would have to get McDonald’s on the way home — there was no way those tiny plates would do the trick. But over the course of the meal, his mind was fully blown, his spirit stimulated alongside his stomach’s satiation. The thoughtful sequencing of dishes conjured to mind music. “It was like eating my way through an album,” Glover says. “I wanted to make an album that sounded like a tasting menu.”\u003c/p>\n\u003cp>That’s because when Glover is not eating gourmet dinners, he performs as the rapper \u003ca href=\"https://www.instagram.com/blvcksvm/?hl=en\">Blvck Svm\u003c/a>. And he really did wind up creating an entire album that’s inspired by fine dining. It’s called \u003ci>michelinman\u003c/i>, and it drops on Nov. 11. In keeping with the theme, Glover shot the music videos for the album in upscale kitchens around the country, milling between sauciers and line cooks while he raps into a mic that drapes down from the ceiling.\u003c/p>\n\u003cp>Given Northern California’s fine-dining bona fides, it should come as no surprise that the project has strong Bay Area connections: Glover himself is based in Chicago, but one of the album’s main producers is from the East Bay. San Francisco fine dining restaurant \u003ca href=\"https://www.restaurantnisei.com/\">Nisei\u003c/a> gets a name drop on \u003ci>michelinman\u003c/i>’s first track, “greymatter,” and its kitchen — and kitchen team — is featured in the music video for the song.\u003c/p>\n\u003cp>The songs on \u003ci>michelinman\u003c/i> weave a concentric circle between high-level rapping and high-level cooking, bouncing between basketball references and tuna belly with ease. Tracks are riddled with samples from cooking shows and chefs pleading with diners to pay attention to their palate. On “irongate” Glover details the camel bone spoon he’ll use for Beluga caviar before comparing his duffel bag to a “Twix sans nougat.” On “mikealstott,” he raps in a near-whisper about how he will “trim the fat and drop it on the heat like a Pat Riley contract” — a reference to how the Miami Heat executive was notorious for monitoring his players’ body fat percentage.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/FAjb2ruk1SM'\n title='//www.youtube.com/embed/FAjb2ruk1SM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The songs are both about fine dining and not, shifting between instructions for searing meat and processing grief with ease. Through the 13-song, nearly 40-minute album, Glover’s flow is a low-rolling storm, breathless and quiet as each song’s larger picture emerges minute by minute.\u003c/p>\n\u003cp>Glover wrote the album between April and September of this year and shot the music videos in the same timeframe. Inspired by \u003ca href=\"https://www.instagram.com/fromtheblockperformance/\">From the Block Performance’s\u003c/a> viral outdoor rap videos, the music videos for \u003ci>michelinman \u003c/i>have a certain Humans of New York feeling to them, as strangers peel around the artist while he raps in public — in this case, inside prominent fine dining kitchens including Oklahoma City’s \u003ca href=\"https://www.nonesuchokc.com/\">NONESUCH\u003c/a> and \u003ca href=\"https://www.thebutcheryyeg.ca/\">The Butchery by RGE RD\u003c/a> in Alberta, Canada.\u003c/p>\n\u003cp>In the videos, Glover plays the part of an interloper praising the work he sees around him. In the one for “greymatter,” shot at Nisei in black and white, the kitchen crew makes quick work of several whole fish, slicing and deboning behind Glover in his puffy jacket. Over a tinkling piano loop, Glover waxes poetic about the Russian Hill restaurant’s raw fish preparations: “I ran out of excuses, I had to make something happen / Break a backend at Nisei or Momotaro / Sashimi otoro, chutoro, cleansing all of my sorrows / Soy sauce only an option if flavor need to be borrowed.” There’s a noir ambiance to the scene, Glover barely visible, the mic hanging in front of him an anchor through the rushing energy of the Nisei kitchen staff.\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/488DcyAaXV4'\n title='//www.youtube.com/embed/488DcyAaXV4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Glover has been chasing his rap dreams since he was a kid in Pembroke Pines, Florida. Back then, he modeled himself after the Southern icon Lil Wayne — but that was just for fun during lunch. It was while he was a student at the University of Chicago, shaking like a leaf during his first performances, that he finally rapped in front of an actual audience. His handle’s changed over the years, finally landing on Blvck Svm as a nod to Cartoon Network’s \u003ci>Samurai Jack\u003c/i>. It’s also an homage to Yasuke, the \u003ca href=\"https://www.smithsonianmag.com/history/who-was-yasuke-japans-first-black-samurai-180981416/\">first Black samurai\u003c/a>.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cspan style=\"color: #2b2b2b;font-weight: 400\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/span>During the pandemic, Glover lost his day job as an assistant manager at the university’s gym just before his rap career started to go big: His 2020 single “\u003ca href=\"https://blvcksvm.bandcamp.com/track/bleach\">bleach\u003c/a>,” a brief, lyrically dense track, now has millions of streams.\u003c/p>\n\u003cp>For \u003ci>michelinman\u003c/i>, Glover linked up with Los Angeles–based producer MIKE SUMMERS, but he tapped Fremont musician Max He for sample interpolation. He has been working with Glover for about a year and says that while the Bay Area’s music scene is vast, not a lot of action happens in \u003ca href=\"https://www.kqed.org/arts/13965193/fremont-immigrant-suburb-idealism-my-hometown\">Fremont\u003c/a> — so he was starstruck, for instance, to be working on the same project as Terrace Martin, who plays sax on the album’s outro. “[Blvck Svm’s] music is about redefining luxury into something accessible,” He says, “not something reserved just for the upper class. He talks about the waiter sprinkling lemon pepper on his wings at Wing Stop in the same way he does about sashimi from Nisei.”\u003c/p>\n\u003cfigure id=\"attachment_13967664\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967664\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/blck-svm-nisei-chef.jpg\" alt=\"A rapper in a black puffy jacket poses with a chef in the kitchen of a fine dining restaurant.\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/blck-svm-nisei-chef.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/blck-svm-nisei-chef-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/blck-svm-nisei-chef-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/blck-svm-nisei-chef-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/blck-svm-nisei-chef-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/blck-svm-nisei-chef-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/blck-svm-nisei-chef-1920x1281.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Glover poses with Nisei chef-owner David Yoshimura. \u003ccite>(Courtesy of Blvck Svm)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For David Yoshimura, Nisei’s chef-owner, it was wonderful to be involved in the album at all. Nisei is a fitting restaurant to highlight on the topic of “accessible luxury” — after all, not many other San Francisco restaurants pair \u003ca href=\"https://sf.eater.com/2024/5/2/24133340/savory-mochi-san-francisco-restaurants\">caviar with mochi\u003c/a>. Glover had reached out to the \u003ca href=\"https://guide.michelin.com/us/en/california/san-francisco/restaurant/nisei\">Michelin-starred restaurant\u003c/a> directly via Instagram, and while a lot of people hit him up with offers to collaborate, Yoshimura was struck by the rapper’s politeness and professionalism. The shoot itself was an easy affair. There’s not usually much yelling in Nisei’s kitchen, he says, so they amped up the energy for the video.\u003c/p>\n\u003cp>Afterwards, Glover and He came in for dinner, and both of them raved about the mochi caviar course and the miso soup. “They were the nicest guests,” Yoshimura says. “And I think his album is going to be the first of its kind.”\u003c/p>\n\u003cfigure id=\"attachment_13967673\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967673\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/blck-svm-waterfront.jpg\" alt='A man in a red baseball cap and white \"A Timeless Ape\" T-shirt poses in front of the Chicago waterfront.' width=\"2000\" height=\"2500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/blck-svm-waterfront.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/blck-svm-waterfront-800x1000.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/blck-svm-waterfront-1020x1275.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/blck-svm-waterfront-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/blck-svm-waterfront-768x960.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/blck-svm-waterfront-1229x1536.jpg 1229w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/blck-svm-waterfront-1638x2048.jpg 1638w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/blck-svm-waterfront-1920x2400.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Glover in front of the Chicago waterfront. \u003ccite>(Michael Tinley, courtesy of Blvck Svm)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Of course, Glover is hardly the\u003ca href=\"https://www.kqed.org/arts/13955802/bay-area-rappers-food-lyrics-illustrations-e-40-larry-june\"> first rapper to consider food\u003c/a>. The late great MF Doom was famous for his lyrical odes to “Doritos, Cheetos or Fritos.” Earlier this fall, New York experimental rappers Phiik and Lungs put out a dense project called \u003ca href=\"https://pitchfork.com/reviews/albums/phiik-lungs-carrot-season/\">\u003ci>Carrot Season\u003c/i>\u003c/a> that includes a track about psychedelic herbal tea. And the Bay’s own Larry June raps about health food and orange juice, and even \u003ca href=\"https://brokeassstuart.com/2023/04/24/larry-june-and-the-alchemists-love-letter-to-the-bay-area-is-a-delight/\">owns a boba shop\u003c/a> in San Francisco.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cspan style=\"color: #2b2b2b;font-weight: 400\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/span>But Glover hopes to be the first full bridge between the mediums — like a fan of flex rap finding a track that gets them deeper into hip-hop, or a diner who heads to Benu for the Instagram pic but leaves weeping like Keanu Reeves in \u003ci>Always Be My Maybe\u003c/i>. His inspirations include MF DOOM and the Griselda hip-hop collective (Boldy James is featured on the album). He cites Action Bronson as another muse, in the way he de-escalates luxurious experiences through irreverent, abstract bars.\u003c/p>\n\u003cp>Glover’s training to get to that level is, fittingly, spent at the chef’s table.\u003c/p>\n\u003cp>“All those things people see as art in food are also in rap. So I spend my time watching how they move through the space,” he says. “The timing, the precision.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Quincy Jones, the multi-talented music titan whose vast legacy ranged from producing Michael Jackson’s historic \u003cem>Thriller\u003c/em> album to writing prize-winning film and television scores and collaborating with Frank Sinatra, Ray Charles and hundreds of other recording artists, has died at 91.\u003c/p>\n\u003cp>Jones’ publicist, Arnold Robinson, says he died Sunday night at his home in the Bel Air section of Los Angeles, surrounded by his family. Jones was to have received an honorary Academy Award later this month.\u003c/p>\n\u003cp>“Tonight, with full but broken hearts, we must share the news of our father and brother Quincy Jones’ passing,” the family said in a statement. “And although this is an incredible loss for our family, we celebrate the great life that he lived and know there will never be another like him.”\u003c/p>\n\u003cfigure id=\"attachment_13967640\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1183662311.jpg\" alt=\"\" width=\"2000\" height=\"1409\" class=\"size-full wp-image-13967640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1183662311.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1183662311-800x564.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1183662311-1020x719.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1183662311-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1183662311-768x541.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1183662311-1536x1082.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1183662311-1920x1353.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Quincy Jones attends an event for the Netflix film ‘Dolemite Is My Name!’ on October 26, 2019 in West Hollywood, California. \u003ccite>(Arnold Turner/Getty Images for Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jones rose from running with gangs on the South Side of Chicago to the very heights of show business, becoming one of the first Black executives to thrive in Hollywood and leaving behind a vast musical catalog that includes some of the richest moments of American song and rhythm. Over the past half century, it was hard to find a music lover who did not own at least one record with Jones’ name on it or someone in the music, television or movie industries who did not have some connection to him.\u003c/p>\n\u003cp>Jones kept company with presidents and foreign leaders, movie stars and musicians, philanthropists and business leaders. He toured with Count Basie and Lionel Hampton, arranged records for Sinatra and Ella Fitzgerald, composed the soundtracks for \u003cem>Roots\u003c/em> and \u003cem>In the Heat of the Night\u003c/em>, organized President Clinton’s first inaugural celebration and oversaw the all-star recording of “We Are the World.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/2013/05/27/186052477/quincy-jones-the-man-behind-the-music\">\u003cstrong>\u003cem>Listen to Quincy Jones’ ‘Fresh Air’ interview with Terry Gross\u003c/em>\u003c/strong>\u003c/a>.\u003c/p>\n\u003cp>In a career that began when records were still played on vinyl at 78 rpm, singling out any work seems unfair. But honors likely go to his productions with Jackson on \u003cem>Off the Wall\u003c/em>, \u003cem>Thriller\u003c/em> and \u003cem>Bad\u003c/em>, albums universal in their style and appeal. Jones’ versatility and imagination fit perfectly with the bursting talents of Jackson as he sensationally transformed from child star to the “King of Pop.” \u003c/p>\n\u003cp>On such classic tracks as “Billie Jean” and “Wanna Be Startin’ Somethin’,” Jones and Jackson drew upon disco, funk, rock, pop, R&B and jazz and African chants. For \u003cem>Thriller\u003c/em>, some of the most memorable touches originated with Jones, who recruited Eddie Van Halen for a guitar solo on the genre-defying “Beat It” and brought in Vincent Price for a ghoulish voiceover on the title track.\u003c/p>\n\u003cfigure id=\"attachment_13967639\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-88686317.jpg\" alt=\"\" width=\"2000\" height=\"1228\" class=\"size-full wp-image-13967639\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-88686317.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-88686317-800x491.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-88686317-1020x626.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-88686317-160x98.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-88686317-768x472.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-88686317-1536x943.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-88686317-1920x1179.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Quincy Jones, Michael Jackson and David Geffen at a post-concert party at Universal Studios circa 1982 in Los Angeles. \u003ccite>(Brad Elterman/FilmMagic)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Thriller\u003c/em> sold more than 20 million copies in 1983 alone, helped Jackson become the first major Black artist to have a video played on MTV and influenced countless performers.\u003c/p>\n\u003cp>“Michael had the look and the voice, and I had every sound you can think of,” Jones would explain.\u003c/p>\n\u003cp>The list of his honors and awards fills 18 pages in his 2001 autobiography \u003cem>Q\u003c/em>: 28 Grammys (out of 80 nominations), an honorary Academy Award and an Emmy for \u003cem>Roots\u003c/em>. He also received France’s Legion d’Honneur and the Rudolph Valentino Award from the Republic of Italy. In 2001, Jones was named a Kennedy Center Honoree for his contributions to American culture. He was the subject of a 1990 documentary, \u003cem>Listen Up: The Lives of Quincy Jones\u003c/em>, and his memoir made him a best-selling author.\u003c/p>\n\u003cp>[aside postID='arts_13951126']“Despite all the Grammys and the special awards and testimonials that maturity bestows, it will always be the values you carry within yourself — of work, love, and integrity — that carry the greatest worth, because these are what get you through with your dreams intact, your heart held firm and your spirit ready for another day,” he wrote in his book.\u003c/p>\n\u003cp>Born in Chicago in 1933, Jones would cite the hymns his mother sang around the house as the first music he could remember. But he looked back sadly on his childhood, telling Oprah Winfrey that “There are two kinds of people: those who have nurturing parents or caretakers, and those who don’t. Nothing’s in between.” \u003c/p>\n\u003cp>Jones’ mother suffered from emotional problems and was eventually institutionalized, a loss that made the world seem “senseless” for Quincy. He spent much of his time in Chicago on the streets, with gangs, stealing and fighting.\u003c/p>\n\u003cfigure id=\"attachment_13967638\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-3031648.jpg\" alt=\"\" width=\"2000\" height=\"1595\" class=\"size-full wp-image-13967638\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-3031648.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-3031648-800x638.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-3031648-1020x813.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-3031648-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-3031648-768x612.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-3031648-1536x1225.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-3031648-1920x1531.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Composer Quincy Jones and Andre 3000 arrive at the ‘Saks Fifth Avenue’s Unforgettable Evening’ at the Regent Beverly Wilshire on March 1, 2004 in Beverly Hills, California. \u003ccite>(Doug Benc/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Music was his passion, and, almost literally, his salvation. As a boy, he learned that a Chicago neighbor owned a piano and he soon played it constantly himself. His father moved to Washington state when Quincy was 10 and his world changed at a neighborhood recreation center. Jones and some friends had broken into the kitchen and helped themselves to lemon meringue pie when Jones noticed a small room nearby with a stage. On the stage was a piano.\u003c/p>\n\u003cp>“I went up there, paused, stared, and then tinkled on it for a moment,” he wrote in his autobiography. “That’s where I began to find peace. I was 11. I knew this was it for me. Forever.”\u003c/p>\n\u003cp>Within a few years he was playing trumpet and befriending a young blind musician named Ray Charles, who became a lifelong friend. He was gifted enough to win a scholarship at the Berklee College of Music in Boston, but dropped out when Hampton invited him to tour with his band. Jones went on to work as a freelance composer, conductor, arranger and producer. As a teen, he backed Billie Holiday. By his mid-20s, he was touring with his own band.\u003c/p>\n\u003cp>“We had the best jazz band on the planet, and yet we were literally starving,” Jones later told \u003cem>Musician\u003c/em> magazine. “That’s when I discovered that there was music, and there was the music business. If I were to survive, I would have to learn the difference between the two.”\u003c/p>\n\u003cp>His survivors include actor Rashida Jones and five other daughters: Jolie Jones Levine, Rachel Jones, Martina Jones, Kidada Jones and Kenya Kinski-Jones; son Quincy Jones III; brother Richard Jones and sisters Theresa Frank and Margie Jay.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>AP Entertainment writer Andrew Dalton and former AP Entertainment Writer Sandy Cohen contributed to this report from Los Angeles.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Quincy Jones, the multi-talented music titan whose vast legacy ranged from producing Michael Jackson’s historic \u003cem>Thriller\u003c/em> album to writing prize-winning film and television scores and collaborating with Frank Sinatra, Ray Charles and hundreds of other recording artists, has died at 91.\u003c/p>\n\u003cp>Jones’ publicist, Arnold Robinson, says he died Sunday night at his home in the Bel Air section of Los Angeles, surrounded by his family. Jones was to have received an honorary Academy Award later this month.\u003c/p>\n\u003cp>“Tonight, with full but broken hearts, we must share the news of our father and brother Quincy Jones’ passing,” the family said in a statement. “And although this is an incredible loss for our family, we celebrate the great life that he lived and know there will never be another like him.”\u003c/p>\n\u003cfigure id=\"attachment_13967640\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1183662311.jpg\" alt=\"\" width=\"2000\" height=\"1409\" class=\"size-full wp-image-13967640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1183662311.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1183662311-800x564.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1183662311-1020x719.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1183662311-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1183662311-768x541.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1183662311-1536x1082.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1183662311-1920x1353.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Quincy Jones attends an event for the Netflix film ‘Dolemite Is My Name!’ on October 26, 2019 in West Hollywood, California. \u003ccite>(Arnold Turner/Getty Images for Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jones rose from running with gangs on the South Side of Chicago to the very heights of show business, becoming one of the first Black executives to thrive in Hollywood and leaving behind a vast musical catalog that includes some of the richest moments of American song and rhythm. Over the past half century, it was hard to find a music lover who did not own at least one record with Jones’ name on it or someone in the music, television or movie industries who did not have some connection to him.\u003c/p>\n\u003cp>Jones kept company with presidents and foreign leaders, movie stars and musicians, philanthropists and business leaders. He toured with Count Basie and Lionel Hampton, arranged records for Sinatra and Ella Fitzgerald, composed the soundtracks for \u003cem>Roots\u003c/em> and \u003cem>In the Heat of the Night\u003c/em>, organized President Clinton’s first inaugural celebration and oversaw the all-star recording of “We Are the World.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/2013/05/27/186052477/quincy-jones-the-man-behind-the-music\">\u003cstrong>\u003cem>Listen to Quincy Jones’ ‘Fresh Air’ interview with Terry Gross\u003c/em>\u003c/strong>\u003c/a>.\u003c/p>\n\u003cp>In a career that began when records were still played on vinyl at 78 rpm, singling out any work seems unfair. But honors likely go to his productions with Jackson on \u003cem>Off the Wall\u003c/em>, \u003cem>Thriller\u003c/em> and \u003cem>Bad\u003c/em>, albums universal in their style and appeal. Jones’ versatility and imagination fit perfectly with the bursting talents of Jackson as he sensationally transformed from child star to the “King of Pop.” \u003c/p>\n\u003cp>On such classic tracks as “Billie Jean” and “Wanna Be Startin’ Somethin’,” Jones and Jackson drew upon disco, funk, rock, pop, R&B and jazz and African chants. For \u003cem>Thriller\u003c/em>, some of the most memorable touches originated with Jones, who recruited Eddie Van Halen for a guitar solo on the genre-defying “Beat It” and brought in Vincent Price for a ghoulish voiceover on the title track.\u003c/p>\n\u003cfigure id=\"attachment_13967639\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-88686317.jpg\" alt=\"\" width=\"2000\" height=\"1228\" class=\"size-full wp-image-13967639\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-88686317.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-88686317-800x491.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-88686317-1020x626.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-88686317-160x98.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-88686317-768x472.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-88686317-1536x943.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-88686317-1920x1179.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Quincy Jones, Michael Jackson and David Geffen at a post-concert party at Universal Studios circa 1982 in Los Angeles. \u003ccite>(Brad Elterman/FilmMagic)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Thriller\u003c/em> sold more than 20 million copies in 1983 alone, helped Jackson become the first major Black artist to have a video played on MTV and influenced countless performers.\u003c/p>\n\u003cp>“Michael had the look and the voice, and I had every sound you can think of,” Jones would explain.\u003c/p>\n\u003cp>The list of his honors and awards fills 18 pages in his 2001 autobiography \u003cem>Q\u003c/em>: 28 Grammys (out of 80 nominations), an honorary Academy Award and an Emmy for \u003cem>Roots\u003c/em>. He also received France’s Legion d’Honneur and the Rudolph Valentino Award from the Republic of Italy. In 2001, Jones was named a Kennedy Center Honoree for his contributions to American culture. He was the subject of a 1990 documentary, \u003cem>Listen Up: The Lives of Quincy Jones\u003c/em>, and his memoir made him a best-selling author.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“Despite all the Grammys and the special awards and testimonials that maturity bestows, it will always be the values you carry within yourself — of work, love, and integrity — that carry the greatest worth, because these are what get you through with your dreams intact, your heart held firm and your spirit ready for another day,” he wrote in his book.\u003c/p>\n\u003cp>Born in Chicago in 1933, Jones would cite the hymns his mother sang around the house as the first music he could remember. But he looked back sadly on his childhood, telling Oprah Winfrey that “There are two kinds of people: those who have nurturing parents or caretakers, and those who don’t. Nothing’s in between.” \u003c/p>\n\u003cp>Jones’ mother suffered from emotional problems and was eventually institutionalized, a loss that made the world seem “senseless” for Quincy. He spent much of his time in Chicago on the streets, with gangs, stealing and fighting.\u003c/p>\n\u003cfigure id=\"attachment_13967638\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-3031648.jpg\" alt=\"\" width=\"2000\" height=\"1595\" class=\"size-full wp-image-13967638\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-3031648.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-3031648-800x638.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-3031648-1020x813.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-3031648-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-3031648-768x612.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-3031648-1536x1225.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-3031648-1920x1531.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Composer Quincy Jones and Andre 3000 arrive at the ‘Saks Fifth Avenue’s Unforgettable Evening’ at the Regent Beverly Wilshire on March 1, 2004 in Beverly Hills, California. \u003ccite>(Doug Benc/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Music was his passion, and, almost literally, his salvation. As a boy, he learned that a Chicago neighbor owned a piano and he soon played it constantly himself. His father moved to Washington state when Quincy was 10 and his world changed at a neighborhood recreation center. Jones and some friends had broken into the kitchen and helped themselves to lemon meringue pie when Jones noticed a small room nearby with a stage. On the stage was a piano.\u003c/p>\n\u003cp>“I went up there, paused, stared, and then tinkled on it for a moment,” he wrote in his autobiography. “That’s where I began to find peace. I was 11. I knew this was it for me. Forever.”\u003c/p>\n\u003cp>Within a few years he was playing trumpet and befriending a young blind musician named Ray Charles, who became a lifelong friend. He was gifted enough to win a scholarship at the Berklee College of Music in Boston, but dropped out when Hampton invited him to tour with his band. Jones went on to work as a freelance composer, conductor, arranger and producer. As a teen, he backed Billie Holiday. By his mid-20s, he was touring with his own band.\u003c/p>\n\u003cp>“We had the best jazz band on the planet, and yet we were literally starving,” Jones later told \u003cem>Musician\u003c/em> magazine. “That’s when I discovered that there was music, and there was the music business. If I were to survive, I would have to learn the difference between the two.”\u003c/p>\n\u003cp>His survivors include actor Rashida Jones and five other daughters: Jolie Jones Levine, Rachel Jones, Martina Jones, Kidada Jones and Kenya Kinski-Jones; son Quincy Jones III; brother Richard Jones and sisters Theresa Frank and Margie Jay.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>AP Entertainment writer Andrew Dalton and former AP Entertainment Writer Sandy Cohen contributed to this report from Los Angeles.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "blessd-ryan-castro-reggaeton-harris-trump-bay-area-fans-election",
"title": "Reggaeton Is Now Part of the 2024 Election. What Do Fans Think?",
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"headTitle": "Reggaeton Is Now Part of the 2024 Election. What Do Fans Think? | KQED",
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"content": "\u003cp>\u003cem>This story is part of the KQED series \u003ca href=\"https://www.kqed.org/fandomvote\">The Fandom Vote\u003c/a>, exploring the election-year concerns and voting preferences of pop culture fanbases.\u003c/em>\u003c/p>\n\u003cp>[dropcap]O[/dropcap]n Halloween night, Colombian stars Blessd and Ryan Castro played a sold-out show at the San Jose Civic to nearly 3,000 reggaeton fans that sang along to every verse. San José was their first stop on the ¡Ay Bendito Ghetto! Tour — a city that in the past few years has become the home of a \u003ca href=\"https://www.kqed.org/news/11994119/colombia-copa-america-final-san-jose-argentina\">rapidly growing Colombian community\u003c/a>.\u003c/p>\n\u003cp>The concert came just days after reggaeton was thrust into the political arena. At a Donald Trump campaign rally on Oct. 27, comedian Tony Hinchcliffe made crude jokes about Latinos and referred to Puerto Rico as a “floating island of garbage.”\u003c/p>\n\u003cp>Global reggaeton superstar Bad Bunny subsequently \u003ca href=\"https://www.pbs.org/newshour/politics/superstar-bad-bunny-backs-harris-for-president-after-trump-event-features-comedians-racist-cracks\">signaled his support for Kamala Harris\u003c/a>, citing the comments at the rally. Nicky Jam, the reggaetonero who surprised fans when he endorsed Trump in September, \u003ca href=\"https://apnews.com/article/nicky-jam-donald-trump-endorsement-rescinded-1502ebc97adf28be8e22bb01d41a3e42\">retracted his endorsement\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13967607\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-08-103124-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13967607\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-08-103124-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-08-103124-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-08-103124-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-08-103124-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-08-103124-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-08-103124-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-08-103124-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Ryan Castro performs at the San Jose Civic in San Jose on Oct. 31, 2024. \u003ccite>(Josie Lepe for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>How do reggaeton fans feel about their genre being thrust to the forefront of the presidential campaign, just days before Election Day? As the last major reggaeton concert in the Bay Area before Nov. 5, Thursday’s concert proved an ideal opportunity to ask just that.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Indeed, most of the crowd at the San Jose Civic were young people who have recently migrated from Colombia to the United States. Blessd and Castro’s music, and reggaeton overall, are more than bops — they’re the soundtrack of their migration journey.\u003c/p>\n\u003cp>“When you listen to reggaeton, you feel like you’re back in your home country again,” said Valeria Bou, originally from Colombia but now living in Seattle. \u003c/p>\n\u003cfigure id=\"attachment_13967613\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-26-103124-KQED.jpg\" alt=\"\" width=\"1600\" height=\"2000\" class=\"size-full wp-image-13967613\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-26-103124-KQED.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-26-103124-KQED-800x1000.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-26-103124-KQED-1020x1275.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-26-103124-KQED-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-26-103124-KQED-768x960.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-26-103124-KQED-1229x1536.jpg 1229w\" sizes=\"(max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">Maria Sanchez (left) and Andres Naruaez pose for a photograph before the concert of Colombian artists Blessd and Ryan Castro at the San Jose Civic in San Jose on Oct. 31, 2024. \u003ccite>(Josie Lepe for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Andrés Nárvaez, now living in San Jose, says he listens to Blessd’s “CONDENADO AL EXITO II” all the time since he migrated. “That song says that all is possible with time and hard work,” he said. “I identify with that. I want to stay in this country and work so I can buy myself a Mercedes and a home.”\u003c/p>\n\u003ch2>Courting the Latino Vote With Reggaeton\u003c/h2>\n\u003cp>Over 36 million Latinos are eligible to vote this year, and many analysts consider the demographic \u003ca href=\"https://time.com/7096983/election-latino-voters-swing-states-harris-trump-campaigns-economy-immigration/\">a key to victory in important swing states like Nevada, Arizona and Pennsylvania\u003c/a>. Both Kamala Harris and Donald Trump know this; their campaigns have \u003ca href=\"https://www.bloomberg.com/news/features/2024-10-19/trump-harris-fight-for-latino-2024-vote-seen-by-record-spanish-ads\">invested millions in courting Latino voters\u003c/a>.\u003c/p>\n\u003cp>Gone are the days of Gerald Ford trying to eat a tamal (and failing miserably: he bit into it \u003ca href=\"https://remezcla.com/food/ford-tamal-eating-1976/\">without taking the corn husk off first\u003c/a>). Or Hillary Clinton’s 2016 list of “7 things Hillary Clinton has in common with your abuela,” \u003ca href=\"https://www.nytimes.com/2015/12/24/us/politics/hillary-clinton-is-not-my-abuela-critics-say.html\">widely criticized\u003c/a> as pandering. This year, both Harris and Trump have tapped reggaeton stars for support.\u003c/p>\n\u003cfigure id=\"attachment_13967623\" class=\"wp-caption aligncenter\" style=\"max-width: 1333px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-46-103124-KQED.jpg\" alt=\"\" width=\"1333\" height=\"2000\" class=\"size-full wp-image-13967623\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-46-103124-KQED.jpg 1333w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-46-103124-KQED-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-46-103124-KQED-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-46-103124-KQED-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-46-103124-KQED-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-46-103124-KQED-1024x1536.jpg 1024w\" sizes=\"(max-width: 1333px) 100vw, 1333px\">\u003cfigcaption class=\"wp-caption-text\">Paola Melo poses for a photograph before the concert of Colombian artists Blessd and Ryan Castro at the San Jose Civic in San Jose on Oct. 31, 2024. \u003ccite>(Josie Lepe for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>First it was Puerto Rican superstars Anuel AA and Justin Quiles, who \u003ca href=\"https://www.rollingstone.com/music/music-latin/reggaeton-donald-trump-endorsements-explained-1235103592/\">endorsed Trump at a rally\u003c/a> in Pennsylvania in August. Then it was their fellow boricua Nicky Jam, who surprised fans and peers when he \u003ca href=\"https://www.usatoday.com/story/entertainment/music/2024/09/15/donald-trump-nicky-jam-las-vegas-rally/75237185007/\">endorsed Trump at a September rally in Las Vegas\u003c/a>. (Before Nicky walked on stage, Trump referring to him repeatedly as “she.”)\u003c/p>\n\u003cp>But it would be Harris that finally received the \u003ca href=\"https://www.washingtonpost.com/style/power/2024/09/19/bad-bunny-kamala-harris-endorsement/\">highly coveted\u003c/a> support of Bad Bunny in a series of Instagram videos shortly after Hinchcliffe’s “floating island of garbage” comment at Madison Square Garden.\u003c/p>\n\u003cp>[aside postID='arts_13967133']\u003c/p>\n\u003ch2>‘What Resources Are You Investing to Support Us?’\u003c/h2>\n\u003cp>For Pittsburg friends Evelyn Suárez, Elaine Torres and Brianna Ruiz, reggaeton as a genre has changed in recent years to center self-empowerment. “It’s authentic,” said Torres, “It’s a lot about showing who you are and putting yourself out there.”\u003c/p>\n\u003cp>In Suárez’s eyes, when an artist speaks about an issue they care about, it makes them a more complete person. “When it’s someone I love, I ask myself, ‘What’s this about? Is this something that I should be caring about that I didn’t know about before?’” she said. For her, that includes the 2024 election.\u003c/p>\n\u003cp>“When I saw that Bad Bunny is supporting Kamala, I’m all for it because Kamala is a lot better than Trump,” Suárez said.\u003c/p>\n\u003cfigure id=\"attachment_13967610\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-22-103124-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13967610\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-22-103124-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-22-103124-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-22-103124-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-22-103124-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-22-103124-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-22-103124-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-22-103124-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">(From left) Elaine Torres, Bryanda Ruiz and Evelin Suarez, pose for a photograph before the concert of Colombian artists Blessd and Ryan Castro at the San Jose Civic in San Jose on Oct. 31, 2024. \u003ccite>(Josie Lepe for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Knowing where an artist stands also helps her know if she wants to keep rooting for them. “I listen to Nicky Jam and when I saw that he was supporting Trump, I was like, ‘Oh no, I don’t support Trump,’” she said. “Seeing him, a Latino, back Trump and forget about all his fans that are Latinos who have suffered from the stuff that Trump has done, I was just like, ‘No.’”\u003c/p>\n\u003cp>While the three agreed that it’s important for candidates to invest energy in understanding Latino voters, they also want actual results after Election Day.\u003c/p>\n\u003cp>“It’s not only about having Bad Bunny on your side to get our votes,” Suárez explained, “but what also matters is what you’re continuously doing in power to support the Latino community. What resources are you investing to support us?”\u003c/p>\n\u003cfigure id=\"attachment_13967618\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-34-103124-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13967618\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-34-103124-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-34-103124-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-34-103124-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-34-103124-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-34-103124-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-34-103124-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-34-103124-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Juan Jose Troncoso (left) and Juan Diego Naranjo pose for a photograph before the concert of Colombian artists Blessd and Ryan Castro at the San Jose Civic in San Jose on Oct. 31, 2024. \u003ccite>(Josie Lepe for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A Music That’s ‘So Pure and Beautiful’\u003c/h2>\n\u003cp>Other fans at the show said they feel protective of reggaeton against U.S. politicians co-opting Latin American music for personal gain.\u003c/p>\n\u003cp>“I think all of this is out of convenience,” said Juan Troncoso of San José. A dancer who recently migrated from Colombia, Troncoso was first drawn to reggaeton because it reflected the reality of growing up Colombian. “For me, reggaeton represents the cultural mixture we have as a people, all the different histories we have.”\u003c/p>\n\u003cp>“What politicians may want out of these artists is to just reach their audiences for votes,” he added. “I don’t see it as something genuine.”\u003c/p>\n\u003cfigure id=\"attachment_13967616\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-30-103124-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13967616\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-30-103124-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-30-103124-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-30-103124-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-30-103124-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-30-103124-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-30-103124-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-30-103124-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">(From left) Juan Pablo Quesada, Valeria Arteaga Bou and Santiago Quesada from Seattle pose for a photograph before the concert of Colombian artists Blessd and Ryan Castro at the San Jose Civic in San Jose on Oct. 31, 2024. \u003ccite>(Josie Lepe for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Others said they wanted reggaeton and politics to stay separate. “I think [reggaetoneros] shouldn’t get involved in all of this, to be honest,” said Juan Ríos of San José. \u003c/p>\n\u003cp>Ríos said he was drawn to artists like Blessd and Ryan Castro for their style, swagger and music. He also approved of \u003ca href=\"https://www.elespectador.com/revista-vea/famosos/blessd-compro-un-equipo-de-futbol-cual-es-y-cuanto-cuesta/\">Blessd’s recent purchase, alongside other investors, of Vendsyssel FF\u003c/a>, a professional soccer team from Denmark.\u003c/p>\n\u003cp>But he thinks that “many of the people that follow reggaeton are too young to vote, so I don’t know if supporting candidates actually works out.”\u003c/p>\n\u003cfigure id=\"attachment_13967611\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-23-103124-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13967611\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-23-103124-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-23-103124-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-23-103124-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-23-103124-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-23-103124-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-23-103124-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-23-103124-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">(From left) Emanuel Parra, Melannie Zapata and Sebastian Londoño pose for a photograph before the concert of Colombian artists Blessd and Ryan Castro at the San Jose Civic in San Jose on Oct. 31, 2024. \u003ccite>(Josie Lepe for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>All in It Together\u003c/h2>\n\u003cp>Dressed as Blade-style vampires, Sebastián Fox and his friends drove over 100 miles from Santa Rosa to see Blessd. Fox is a house and electronic music DJ and producer originally from Colombia who came to the United States to pursue his dreams. The long drive was worth it, he said, to see one of his inspirations. \u003c/p>\n\u003cp>“I see Blessd’s journey of coming from the streets, moving up and becoming a hit, and that motivates me,” he said. “Because if he can, then I can also do the same with my music.”\u003c/p>\n\u003cp>As someone who creates music for a living, he thinks politics should stay separate. “Music is something that needs to be respected. It’s something so pure and beautiful,” said Fox. “Mixing it with politics and influence, that doesn’t match up for me.”\u003c/p>\n\u003cfigure id=\"attachment_13967614\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-27-103124-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13967614\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-27-103124-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-27-103124-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-27-103124-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-27-103124-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-27-103124-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-27-103124-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-27-103124-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Brothers Adrian (left) and Ricardo Abonce pose for a photograph before the concert of Colombian artists Blessd and Ryan Castro at the San Jose Civic in San Jose on Oct. 31, 2024. \u003ccite>(Josie Lepe for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One thing was clear at the San Jose Civic: the power of reggaeton exists thanks to the dedication of its fans.\u003c/p>\n\u003cp>Brothers Ricardo and Adrian Abonce from Dublin showed up to the performance in Halloween costumes, with Ricardo dressed as the Pope and his brother as a priest. (“All of this made possible by \u003ca href=\"https://www.kqed.org/news/11965792/spirit-halloween-unleashed-its-first-bay-area-store-in-1983\">Spirit Halloween\u003c/a>,” they joked.) \u003c/p>\n\u003cp>They said they both grew up listening to reggaeton, listening to everything by Daddy Yankee and La Factoria. “It makes me very proud to see that Latin American music has come so far in the United States,” said Ricardo. \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>His brother agreed. “As Latinos, it’s incredible that we’ve come so far,” Adrian said. “We’re all in this together.”\u003c/p>\n\u003cfigure id=\"attachment_13967609\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-20-103124-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13967609\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-20-103124-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-20-103124-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-20-103124-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-20-103124-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-20-103124-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-20-103124-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-20-103124-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at the Blessd and Ryan Castro concert during the“ Ay Bendito Ghetto” tour at the San Jose Civic in San Jose on Oct. 31, 2024. \u003ccite>(Josie Lepe for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"excerpt": "At a Ryan Castro and Blessd concert, fans talk about the heightened role the music plays in U.S. politics.",
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"title": "Reggaeton Is Now Part of the 2024 Election. What Do Fans Think? | KQED",
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"headline": "Reggaeton Is Now Part of the 2024 Election. What Do Fans Think?",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>This story is part of the KQED series \u003ca href=\"https://www.kqed.org/fandomvote\">The Fandom Vote\u003c/a>, exploring the election-year concerns and voting preferences of pop culture fanbases.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">O\u003c/span>\u003c/p>\u003cp>n Halloween night, Colombian stars Blessd and Ryan Castro played a sold-out show at the San Jose Civic to nearly 3,000 reggaeton fans that sang along to every verse. San José was their first stop on the ¡Ay Bendito Ghetto! Tour — a city that in the past few years has become the home of a \u003ca href=\"https://www.kqed.org/news/11994119/colombia-copa-america-final-san-jose-argentina\">rapidly growing Colombian community\u003c/a>.\u003c/p>\n\u003cp>The concert came just days after reggaeton was thrust into the political arena. At a Donald Trump campaign rally on Oct. 27, comedian Tony Hinchcliffe made crude jokes about Latinos and referred to Puerto Rico as a “floating island of garbage.”\u003c/p>\n\u003cp>Global reggaeton superstar Bad Bunny subsequently \u003ca href=\"https://www.pbs.org/newshour/politics/superstar-bad-bunny-backs-harris-for-president-after-trump-event-features-comedians-racist-cracks\">signaled his support for Kamala Harris\u003c/a>, citing the comments at the rally. Nicky Jam, the reggaetonero who surprised fans when he endorsed Trump in September, \u003ca href=\"https://apnews.com/article/nicky-jam-donald-trump-endorsement-rescinded-1502ebc97adf28be8e22bb01d41a3e42\">retracted his endorsement\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13967607\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-08-103124-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13967607\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-08-103124-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-08-103124-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-08-103124-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-08-103124-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-08-103124-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-08-103124-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-08-103124-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Ryan Castro performs at the San Jose Civic in San Jose on Oct. 31, 2024. \u003ccite>(Josie Lepe for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>How do reggaeton fans feel about their genre being thrust to the forefront of the presidential campaign, just days before Election Day? As the last major reggaeton concert in the Bay Area before Nov. 5, Thursday’s concert proved an ideal opportunity to ask just that.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Indeed, most of the crowd at the San Jose Civic were young people who have recently migrated from Colombia to the United States. Blessd and Castro’s music, and reggaeton overall, are more than bops — they’re the soundtrack of their migration journey.\u003c/p>\n\u003cp>“When you listen to reggaeton, you feel like you’re back in your home country again,” said Valeria Bou, originally from Colombia but now living in Seattle. \u003c/p>\n\u003cfigure id=\"attachment_13967613\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-26-103124-KQED.jpg\" alt=\"\" width=\"1600\" height=\"2000\" class=\"size-full wp-image-13967613\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-26-103124-KQED.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-26-103124-KQED-800x1000.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-26-103124-KQED-1020x1275.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-26-103124-KQED-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-26-103124-KQED-768x960.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-26-103124-KQED-1229x1536.jpg 1229w\" sizes=\"(max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">Maria Sanchez (left) and Andres Naruaez pose for a photograph before the concert of Colombian artists Blessd and Ryan Castro at the San Jose Civic in San Jose on Oct. 31, 2024. \u003ccite>(Josie Lepe for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Andrés Nárvaez, now living in San Jose, says he listens to Blessd’s “CONDENADO AL EXITO II” all the time since he migrated. “That song says that all is possible with time and hard work,” he said. “I identify with that. I want to stay in this country and work so I can buy myself a Mercedes and a home.”\u003c/p>\n\u003ch2>Courting the Latino Vote With Reggaeton\u003c/h2>\n\u003cp>Over 36 million Latinos are eligible to vote this year, and many analysts consider the demographic \u003ca href=\"https://time.com/7096983/election-latino-voters-swing-states-harris-trump-campaigns-economy-immigration/\">a key to victory in important swing states like Nevada, Arizona and Pennsylvania\u003c/a>. Both Kamala Harris and Donald Trump know this; their campaigns have \u003ca href=\"https://www.bloomberg.com/news/features/2024-10-19/trump-harris-fight-for-latino-2024-vote-seen-by-record-spanish-ads\">invested millions in courting Latino voters\u003c/a>.\u003c/p>\n\u003cp>Gone are the days of Gerald Ford trying to eat a tamal (and failing miserably: he bit into it \u003ca href=\"https://remezcla.com/food/ford-tamal-eating-1976/\">without taking the corn husk off first\u003c/a>). Or Hillary Clinton’s 2016 list of “7 things Hillary Clinton has in common with your abuela,” \u003ca href=\"https://www.nytimes.com/2015/12/24/us/politics/hillary-clinton-is-not-my-abuela-critics-say.html\">widely criticized\u003c/a> as pandering. This year, both Harris and Trump have tapped reggaeton stars for support.\u003c/p>\n\u003cfigure id=\"attachment_13967623\" class=\"wp-caption aligncenter\" style=\"max-width: 1333px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-46-103124-KQED.jpg\" alt=\"\" width=\"1333\" height=\"2000\" class=\"size-full wp-image-13967623\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-46-103124-KQED.jpg 1333w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-46-103124-KQED-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-46-103124-KQED-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-46-103124-KQED-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-46-103124-KQED-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-46-103124-KQED-1024x1536.jpg 1024w\" sizes=\"(max-width: 1333px) 100vw, 1333px\">\u003cfigcaption class=\"wp-caption-text\">Paola Melo poses for a photograph before the concert of Colombian artists Blessd and Ryan Castro at the San Jose Civic in San Jose on Oct. 31, 2024. \u003ccite>(Josie Lepe for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>First it was Puerto Rican superstars Anuel AA and Justin Quiles, who \u003ca href=\"https://www.rollingstone.com/music/music-latin/reggaeton-donald-trump-endorsements-explained-1235103592/\">endorsed Trump at a rally\u003c/a> in Pennsylvania in August. Then it was their fellow boricua Nicky Jam, who surprised fans and peers when he \u003ca href=\"https://www.usatoday.com/story/entertainment/music/2024/09/15/donald-trump-nicky-jam-las-vegas-rally/75237185007/\">endorsed Trump at a September rally in Las Vegas\u003c/a>. (Before Nicky walked on stage, Trump referring to him repeatedly as “she.”)\u003c/p>\n\u003cp>But it would be Harris that finally received the \u003ca href=\"https://www.washingtonpost.com/style/power/2024/09/19/bad-bunny-kamala-harris-endorsement/\">highly coveted\u003c/a> support of Bad Bunny in a series of Instagram videos shortly after Hinchcliffe’s “floating island of garbage” comment at Madison Square Garden.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003ch2>‘What Resources Are You Investing to Support Us?’\u003c/h2>\n\u003cp>For Pittsburg friends Evelyn Suárez, Elaine Torres and Brianna Ruiz, reggaeton as a genre has changed in recent years to center self-empowerment. “It’s authentic,” said Torres, “It’s a lot about showing who you are and putting yourself out there.”\u003c/p>\n\u003cp>In Suárez’s eyes, when an artist speaks about an issue they care about, it makes them a more complete person. “When it’s someone I love, I ask myself, ‘What’s this about? Is this something that I should be caring about that I didn’t know about before?’” she said. For her, that includes the 2024 election.\u003c/p>\n\u003cp>“When I saw that Bad Bunny is supporting Kamala, I’m all for it because Kamala is a lot better than Trump,” Suárez said.\u003c/p>\n\u003cfigure id=\"attachment_13967610\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-22-103124-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13967610\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-22-103124-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-22-103124-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-22-103124-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-22-103124-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-22-103124-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-22-103124-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-22-103124-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">(From left) Elaine Torres, Bryanda Ruiz and Evelin Suarez, pose for a photograph before the concert of Colombian artists Blessd and Ryan Castro at the San Jose Civic in San Jose on Oct. 31, 2024. \u003ccite>(Josie Lepe for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Knowing where an artist stands also helps her know if she wants to keep rooting for them. “I listen to Nicky Jam and when I saw that he was supporting Trump, I was like, ‘Oh no, I don’t support Trump,’” she said. “Seeing him, a Latino, back Trump and forget about all his fans that are Latinos who have suffered from the stuff that Trump has done, I was just like, ‘No.’”\u003c/p>\n\u003cp>While the three agreed that it’s important for candidates to invest energy in understanding Latino voters, they also want actual results after Election Day.\u003c/p>\n\u003cp>“It’s not only about having Bad Bunny on your side to get our votes,” Suárez explained, “but what also matters is what you’re continuously doing in power to support the Latino community. What resources are you investing to support us?”\u003c/p>\n\u003cfigure id=\"attachment_13967618\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-34-103124-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13967618\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-34-103124-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-34-103124-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-34-103124-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-34-103124-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-34-103124-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-34-103124-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-34-103124-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Juan Jose Troncoso (left) and Juan Diego Naranjo pose for a photograph before the concert of Colombian artists Blessd and Ryan Castro at the San Jose Civic in San Jose on Oct. 31, 2024. \u003ccite>(Josie Lepe for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A Music That’s ‘So Pure and Beautiful’\u003c/h2>\n\u003cp>Other fans at the show said they feel protective of reggaeton against U.S. politicians co-opting Latin American music for personal gain.\u003c/p>\n\u003cp>“I think all of this is out of convenience,” said Juan Troncoso of San José. A dancer who recently migrated from Colombia, Troncoso was first drawn to reggaeton because it reflected the reality of growing up Colombian. “For me, reggaeton represents the cultural mixture we have as a people, all the different histories we have.”\u003c/p>\n\u003cp>“What politicians may want out of these artists is to just reach their audiences for votes,” he added. “I don’t see it as something genuine.”\u003c/p>\n\u003cfigure id=\"attachment_13967616\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-30-103124-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13967616\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-30-103124-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-30-103124-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-30-103124-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-30-103124-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-30-103124-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-30-103124-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-30-103124-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">(From left) Juan Pablo Quesada, Valeria Arteaga Bou and Santiago Quesada from Seattle pose for a photograph before the concert of Colombian artists Blessd and Ryan Castro at the San Jose Civic in San Jose on Oct. 31, 2024. \u003ccite>(Josie Lepe for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Others said they wanted reggaeton and politics to stay separate. “I think [reggaetoneros] shouldn’t get involved in all of this, to be honest,” said Juan Ríos of San José. \u003c/p>\n\u003cp>Ríos said he was drawn to artists like Blessd and Ryan Castro for their style, swagger and music. He also approved of \u003ca href=\"https://www.elespectador.com/revista-vea/famosos/blessd-compro-un-equipo-de-futbol-cual-es-y-cuanto-cuesta/\">Blessd’s recent purchase, alongside other investors, of Vendsyssel FF\u003c/a>, a professional soccer team from Denmark.\u003c/p>\n\u003cp>But he thinks that “many of the people that follow reggaeton are too young to vote, so I don’t know if supporting candidates actually works out.”\u003c/p>\n\u003cfigure id=\"attachment_13967611\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-23-103124-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13967611\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-23-103124-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-23-103124-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-23-103124-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-23-103124-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-23-103124-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-23-103124-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-23-103124-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">(From left) Emanuel Parra, Melannie Zapata and Sebastian Londoño pose for a photograph before the concert of Colombian artists Blessd and Ryan Castro at the San Jose Civic in San Jose on Oct. 31, 2024. \u003ccite>(Josie Lepe for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>All in It Together\u003c/h2>\n\u003cp>Dressed as Blade-style vampires, Sebastián Fox and his friends drove over 100 miles from Santa Rosa to see Blessd. Fox is a house and electronic music DJ and producer originally from Colombia who came to the United States to pursue his dreams. The long drive was worth it, he said, to see one of his inspirations. \u003c/p>\n\u003cp>“I see Blessd’s journey of coming from the streets, moving up and becoming a hit, and that motivates me,” he said. “Because if he can, then I can also do the same with my music.”\u003c/p>\n\u003cp>As someone who creates music for a living, he thinks politics should stay separate. “Music is something that needs to be respected. It’s something so pure and beautiful,” said Fox. “Mixing it with politics and influence, that doesn’t match up for me.”\u003c/p>\n\u003cfigure id=\"attachment_13967614\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-27-103124-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13967614\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-27-103124-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-27-103124-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-27-103124-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-27-103124-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-27-103124-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-27-103124-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-27-103124-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Brothers Adrian (left) and Ricardo Abonce pose for a photograph before the concert of Colombian artists Blessd and Ryan Castro at the San Jose Civic in San Jose on Oct. 31, 2024. \u003ccite>(Josie Lepe for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One thing was clear at the San Jose Civic: the power of reggaeton exists thanks to the dedication of its fans.\u003c/p>\n\u003cp>Brothers Ricardo and Adrian Abonce from Dublin showed up to the performance in Halloween costumes, with Ricardo dressed as the Pope and his brother as a priest. (“All of this made possible by \u003ca href=\"https://www.kqed.org/news/11965792/spirit-halloween-unleashed-its-first-bay-area-store-in-1983\">Spirit Halloween\u003c/a>,” they joked.) \u003c/p>\n\u003cp>They said they both grew up listening to reggaeton, listening to everything by Daddy Yankee and La Factoria. “It makes me very proud to see that Latin American music has come so far in the United States,” said Ricardo. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>His brother agreed. “As Latinos, it’s incredible that we’ve come so far,” Adrian said. “We’re all in this together.”\u003c/p>\n\u003cfigure id=\"attachment_13967609\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-20-103124-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13967609\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-20-103124-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-20-103124-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-20-103124-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-20-103124-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-20-103124-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-20-103124-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-20-103124-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at the Blessd and Ryan Castro concert during the“ Ay Bendito Ghetto” tour at the San Jose Civic in San Jose on Oct. 31, 2024. \u003ccite>(Josie Lepe for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"slug": "danny-elfman-halloween-interview",
"title": "Danny Elfman on Halloween and His Current Stage Show: ‘It’s Completely Crazy’",
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"headTitle": "Danny Elfman on Halloween and His Current Stage Show: ‘It’s Completely Crazy’ | KQED",
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"content": "\u003cp>As the composer for films like \u003cem>Beetlejuice\u003c/em>, \u003cem>The Nightmare Before Christmas\u003c/em> and \u003cem>Corpse Bride\u003c/em>, Danny Elfman’s name is nearly synonymous with Halloween. And though his most widely known work is probably \u003cem>The Simpsons\u003c/em> theme, “This Is Halloween,” “Tales From the Crypt,” “Dead Man’s Party” and other creepy classics from Elfman’s pen have become a new soundtrack to late October.\u003c/p>\n\u003cp>Before Elfman brings his musical mayhem to the Bay Area \u003ca href=\"https://www.dannyelfman.com/events-posts/fromboingotobatmantobigmessandbeyond2024-nd2n5\">on Sunday, Nov. 3\u003c/a> — a massive show spanning his work with Oingo Boingo, Tim Burton and more — he chatted with KQED about the spooky season, his inspirations and missing his longtime friend Pee-Wee Herman.\u003c/p>\n\u003cp>\u003cem>Interview has been edited for length and clarity. \u003c/em>\u003c/p>\n\u003cp>\u003cstrong>First of all, Happy Halloween — this must really be your time of year. Do you decorate your house? I’m imagining your front yard looking like \u003ca href=\"https://interscope.com/cdn/shop/files/0935F6ED-3EE1-4D23-B54A-2B6AA77D2FF3.jpg?v=1728685910&width=1200\">the album cover of \u003cem>Dead Man’s Party\u003c/em>\u003c/a>. \u003c/strong>\u003c/p>\n\u003cp>It used to! I lived for 17 years in a house in a nice, flat neighborhood. And my son Oliver, as a little kid, he took charge with decorating the house. It was completely done up. He took it really seriously; he called himself a director. We decorated every year.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But now I’ve moved and I’m in a house that has all these steps, up the hill, and we don’t get many visitors. It’s kind of sad, you know? But we had some good years of doing the house up every year.\u003c/p>\n\u003cfigure id=\"attachment_13967538\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967538\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1391884573.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1391884573.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1391884573-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1391884573-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1391884573-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1391884573-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1391884573-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1391884573-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Danny Elfman performs onstage at the 2022 Coachella Valley Music And Arts Festival on April 16, 2022. \u003ccite>(Kevin Mazur/Getty Images for Coachella)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Tell me a little bit about what people can expect from these shows you’re doing this weekend. How crazy are they?\u003c/strong>\u003c/p>\n\u003cp>It’s completely crazy. It’s something I put together a couple of years ago for Coachella. I pitched it as this mashup of \u003cem>everything\u003c/em> — old songs, new songs, film stuff — in a way that made no sense whatsoever. Backstage, I felt like I was walking into a trainwreck of my own design, that was going to go off the tracks into a fiery blaze. It just seemed like the worst idea ever. What was I thinking?\u003c/p>\n\u003cp>And I went out there and did it. And I loved it! And then the second weekend, my God, it was like the crowd had doubled. So we just took that short set at Coachella, and this is the longer version of the same thing, with a rock band, a full 60-piece orchestra and a choir behind me. I call it \u003cem>From Boingo to Batman to Big Mess and Beyond\u003c/em>. One third of it is new work; one third of it is my old work from 30, 40 years ago; and one third of it is film work, and it all just jumbles together in a crazy way. It makes no sense whatsoever. But neither do I.\u003c/p>\n\u003cp>[aside postID='arts_13967487']\u003cstrong>Several years ago, after seeing Hans Zimmer and John Carpenter on tour, I thought: \u003ca href=\"https://www.kqed.org/arts/13088812/hans-zimmer-johann-johannsson-review\">Are film composers the new rock stars\u003c/a>? How do you feel about this resurgence of film composers, going on tour and playing big arena shows?\u003c/strong>\u003c/p>\n\u003cp>I started doing it 11 years ago, at the Royal Albert Hall in London, for a retrospective of Tim Burton’s film work. I put together 15 suites. It was my first time singing in almost 20 years. I didn’t know what the reaction was going to be, but it was such a warm response that I decided to keep doing it.\u003c/p>\n\u003cp>There was a point some years later where I saw Hans [Zimmer] backstage, and he goes, “I’m so happy you’re doing this. I’m going to do my own version of it.” And I said, “Great!”\u003c/p>\n\u003cp>I talk with other film composers, like Alexandre Desplat, and I go, “You know, it’s the only way you’re ever going to get a break.” You try to get a holiday, but you’re on a film schedule. The schedule shifts, and you go, “Well, I’ve had this holiday planned for a year,” and they go, “We all have holidays planned, you’re not leaving.” So this was a way to get me out of town, and it’s a \u003cem>contract\u003c/em>, so when you go to a studio and say, “I’m going to be out of town,” they understand that, right? I honestly think it was just a way to get me out of town.\u003c/p>\n\u003cfigure id=\"attachment_13967536\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967536\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/DannyElfman_AmbarNavarro.jpg\" alt=\"A man with red hair and black v-neck t-shirt against a deep red background wearing red sunglasses\" width=\"2000\" height=\"1125\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/DannyElfman_AmbarNavarro.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/DannyElfman_AmbarNavarro-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/DannyElfman_AmbarNavarro-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/DannyElfman_AmbarNavarro-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/DannyElfman_AmbarNavarro-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/DannyElfman_AmbarNavarro-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/DannyElfman_AmbarNavarro-1920x1080.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Danny Elfman. \u003ccite>(Ambar Navarro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>As a film composer, does your brain just start soundtracking random situations you find yourself in real life? Like, are you cracking an egg in the morning and suddenly hear a tuba riff to go along with it?\u003c/strong>\u003c/p>\n\u003cp>Just out of my own head, no. If I’m in the middle of a score and I’m deeply obsessed in it, I will get odd ideas in the middle of the night, or when I’m making breakfast — or more likely, unfortunately, when I’m driving the car.\u003c/p>\n\u003cp>Ideas hit you at the worst possible time. The \u003cem>Batman\u003c/em> theme hit me flying on a 747 — the whole thing slammed into my head and it’s like, “My God, how am I going to remember all this?” And \u003cem>The Simpsons\u003c/em> theme hit me in the car on the way home from meeting Matt Groening, where he showed me a pencil sketch of the opening. I had this concept driving home, and I remember racing home, running down the stairs to my studio, and I couldn’t talk to my wife, couldn’t talk to anybody. It was just like, “Can’t talk, can’t talk! I gotta get this idea down!”\u003c/p>\n\u003cp>[aside postID='arts_13904911']\u003cstrong>I have to ask about Pee-Wee Herman — Paul Reubens — with whom you were so close, personally and professionally. It’s now been over a year since his death. What do you miss the most about him?\u003c/strong>\u003c/p>\n\u003cp>It’s just his spirit. On my birthday, I would get a barrage of crazy little videos all day long. And I love that Paul, Paul as well as Tim, is equally responsible for me having a film career. I didn’t understand that ’til later.\u003c/p>\n\u003cp>Tim knew of my band and we met and hit it off. But Paul had heard the work I’d done five years earlier on a midnight cult film for my brother called \u003cem>Forbidden Zone\u003c/em>. And he wrote my name down and he said, “If I ever do a film, I have to call this guy.” And to my amazement, he kept that piece of paper. Five years later, sitting with Tim, he was like, ‘I have somebody we should call.’ So Paul is very much responsible for me having a 38-year, 110- or 120-film career behind me right now.\u003c/p>\n\u003cp>And I \u003cem>adored\u003c/em> him. Towards the end of his life — I didn’t know was the end of his life — we bonded again when both of our mothers had dementia. It made me so glad to have the few years that I did have, \u003ca href=\"https://youtu.be/9yHQBcUma8I?si=1PVqY5ZznzK_Zh7D&t=124\">with him onstage\u003c/a> doing \u003cem>Nightmare Before Christmas\u003c/em>. But I miss him terribly.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Danny Elfman performs ‘From Boingo to Batman to Big Mess and Beyond’ on Sunday, Nov. 3, at the Shoreline Amphitheatre in Mountain View. \u003ca href=\"https://www.dannyelfman.com/events-posts/fromboingotobatmantobigmessandbeyond2024-nd2n5\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "The ‘Beetlejuice’ and ‘Nightmare Before Christmas’ composer talks about his career-spanning tour.",
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"title": "Danny Elfman on Halloween and His Current Stage Show: ‘It’s Completely Crazy’ | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As the composer for films like \u003cem>Beetlejuice\u003c/em>, \u003cem>The Nightmare Before Christmas\u003c/em> and \u003cem>Corpse Bride\u003c/em>, Danny Elfman’s name is nearly synonymous with Halloween. And though his most widely known work is probably \u003cem>The Simpsons\u003c/em> theme, “This Is Halloween,” “Tales From the Crypt,” “Dead Man’s Party” and other creepy classics from Elfman’s pen have become a new soundtrack to late October.\u003c/p>\n\u003cp>Before Elfman brings his musical mayhem to the Bay Area \u003ca href=\"https://www.dannyelfman.com/events-posts/fromboingotobatmantobigmessandbeyond2024-nd2n5\">on Sunday, Nov. 3\u003c/a> — a massive show spanning his work with Oingo Boingo, Tim Burton and more — he chatted with KQED about the spooky season, his inspirations and missing his longtime friend Pee-Wee Herman.\u003c/p>\n\u003cp>\u003cem>Interview has been edited for length and clarity. \u003c/em>\u003c/p>\n\u003cp>\u003cstrong>First of all, Happy Halloween — this must really be your time of year. Do you decorate your house? I’m imagining your front yard looking like \u003ca href=\"https://interscope.com/cdn/shop/files/0935F6ED-3EE1-4D23-B54A-2B6AA77D2FF3.jpg?v=1728685910&width=1200\">the album cover of \u003cem>Dead Man’s Party\u003c/em>\u003c/a>. \u003c/strong>\u003c/p>\n\u003cp>It used to! I lived for 17 years in a house in a nice, flat neighborhood. And my son Oliver, as a little kid, he took charge with decorating the house. It was completely done up. He took it really seriously; he called himself a director. We decorated every year.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But now I’ve moved and I’m in a house that has all these steps, up the hill, and we don’t get many visitors. It’s kind of sad, you know? But we had some good years of doing the house up every year.\u003c/p>\n\u003cfigure id=\"attachment_13967538\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967538\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1391884573.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1391884573.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1391884573-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1391884573-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1391884573-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1391884573-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1391884573-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1391884573-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Danny Elfman performs onstage at the 2022 Coachella Valley Music And Arts Festival on April 16, 2022. \u003ccite>(Kevin Mazur/Getty Images for Coachella)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Tell me a little bit about what people can expect from these shows you’re doing this weekend. How crazy are they?\u003c/strong>\u003c/p>\n\u003cp>It’s completely crazy. It’s something I put together a couple of years ago for Coachella. I pitched it as this mashup of \u003cem>everything\u003c/em> — old songs, new songs, film stuff — in a way that made no sense whatsoever. Backstage, I felt like I was walking into a trainwreck of my own design, that was going to go off the tracks into a fiery blaze. It just seemed like the worst idea ever. What was I thinking?\u003c/p>\n\u003cp>And I went out there and did it. And I loved it! And then the second weekend, my God, it was like the crowd had doubled. So we just took that short set at Coachella, and this is the longer version of the same thing, with a rock band, a full 60-piece orchestra and a choir behind me. I call it \u003cem>From Boingo to Batman to Big Mess and Beyond\u003c/em>. One third of it is new work; one third of it is my old work from 30, 40 years ago; and one third of it is film work, and it all just jumbles together in a crazy way. It makes no sense whatsoever. But neither do I.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cstrong>Several years ago, after seeing Hans Zimmer and John Carpenter on tour, I thought: \u003ca href=\"https://www.kqed.org/arts/13088812/hans-zimmer-johann-johannsson-review\">Are film composers the new rock stars\u003c/a>? How do you feel about this resurgence of film composers, going on tour and playing big arena shows?\u003c/strong>\u003c/p>\n\u003cp>I started doing it 11 years ago, at the Royal Albert Hall in London, for a retrospective of Tim Burton’s film work. I put together 15 suites. It was my first time singing in almost 20 years. I didn’t know what the reaction was going to be, but it was such a warm response that I decided to keep doing it.\u003c/p>\n\u003cp>There was a point some years later where I saw Hans [Zimmer] backstage, and he goes, “I’m so happy you’re doing this. I’m going to do my own version of it.” And I said, “Great!”\u003c/p>\n\u003cp>I talk with other film composers, like Alexandre Desplat, and I go, “You know, it’s the only way you’re ever going to get a break.” You try to get a holiday, but you’re on a film schedule. The schedule shifts, and you go, “Well, I’ve had this holiday planned for a year,” and they go, “We all have holidays planned, you’re not leaving.” So this was a way to get me out of town, and it’s a \u003cem>contract\u003c/em>, so when you go to a studio and say, “I’m going to be out of town,” they understand that, right? I honestly think it was just a way to get me out of town.\u003c/p>\n\u003cfigure id=\"attachment_13967536\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967536\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/DannyElfman_AmbarNavarro.jpg\" alt=\"A man with red hair and black v-neck t-shirt against a deep red background wearing red sunglasses\" width=\"2000\" height=\"1125\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/DannyElfman_AmbarNavarro.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/DannyElfman_AmbarNavarro-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/DannyElfman_AmbarNavarro-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/DannyElfman_AmbarNavarro-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/DannyElfman_AmbarNavarro-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/DannyElfman_AmbarNavarro-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/DannyElfman_AmbarNavarro-1920x1080.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Danny Elfman. \u003ccite>(Ambar Navarro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>As a film composer, does your brain just start soundtracking random situations you find yourself in real life? Like, are you cracking an egg in the morning and suddenly hear a tuba riff to go along with it?\u003c/strong>\u003c/p>\n\u003cp>Just out of my own head, no. If I’m in the middle of a score and I’m deeply obsessed in it, I will get odd ideas in the middle of the night, or when I’m making breakfast — or more likely, unfortunately, when I’m driving the car.\u003c/p>\n\u003cp>Ideas hit you at the worst possible time. The \u003cem>Batman\u003c/em> theme hit me flying on a 747 — the whole thing slammed into my head and it’s like, “My God, how am I going to remember all this?” And \u003cem>The Simpsons\u003c/em> theme hit me in the car on the way home from meeting Matt Groening, where he showed me a pencil sketch of the opening. I had this concept driving home, and I remember racing home, running down the stairs to my studio, and I couldn’t talk to my wife, couldn’t talk to anybody. It was just like, “Can’t talk, can’t talk! I gotta get this idea down!”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cstrong>I have to ask about Pee-Wee Herman — Paul Reubens — with whom you were so close, personally and professionally. It’s now been over a year since his death. What do you miss the most about him?\u003c/strong>\u003c/p>\n\u003cp>It’s just his spirit. On my birthday, I would get a barrage of crazy little videos all day long. And I love that Paul, Paul as well as Tim, is equally responsible for me having a film career. I didn’t understand that ’til later.\u003c/p>\n\u003cp>Tim knew of my band and we met and hit it off. But Paul had heard the work I’d done five years earlier on a midnight cult film for my brother called \u003cem>Forbidden Zone\u003c/em>. And he wrote my name down and he said, “If I ever do a film, I have to call this guy.” And to my amazement, he kept that piece of paper. Five years later, sitting with Tim, he was like, ‘I have somebody we should call.’ So Paul is very much responsible for me having a 38-year, 110- or 120-film career behind me right now.\u003c/p>\n\u003cp>And I \u003cem>adored\u003c/em> him. Towards the end of his life — I didn’t know was the end of his life — we bonded again when both of our mothers had dementia. It made me so glad to have the few years that I did have, \u003ca href=\"https://youtu.be/9yHQBcUma8I?si=1PVqY5ZznzK_Zh7D&t=124\">with him onstage\u003c/a> doing \u003cem>Nightmare Before Christmas\u003c/em>. But I miss him terribly.\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>Danny Elfman performs ‘From Boingo to Batman to Big Mess and Beyond’ on Sunday, Nov. 3, at the Shoreline Amphitheatre in Mountain View. \u003ca href=\"https://www.dannyelfman.com/events-posts/fromboingotobatmantobigmessandbeyond2024-nd2n5\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "mac-dre-20-years-death-furly-ghost-bay-area",
"title": "20 Years After Mac Dre’s Death, the Furly Ghost Still Lingers",
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"content": "\u003cp>[dropcap]W[/dropcap]hen I ask the security guard at Oakland’s Mountain View Cemetery for directions to Plot 47, he replies, “You lookin’ for Dre?”\u003c/p>\n\u003cp>He’s an older brown-skinned man in a crossing guard vest, sporty sunglasses and an afro protruding from a trucker hat, his hair seasoned by strands of grey. As I talk to the thin, tall, square-shouldered brotha, I wonder: Is this what Mac Dre would’ve looked like had he been able to see elderhood?\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">As he hands me a map, he says folks always come looking for Mac Dre’s burial site, usually to take pictures and leave tokens of appreciation.\u003c/p>\n\u003cp>Those visitors are about to arrive in large numbers. On Nov. 1, 2004, Mac Dre was shot and killed in Kansas City at age 34. Which means that Friday, Nov. 1, will mark 20 years since his death, and a loss felt in every pocket of the Bay.\u003c/p>\n\u003cp>A week before the anniversary, I get to the gravesite and take in each letter engraved in the mahogany-colored marble headstone. ANDRE ‘MAC DRE’ HICKS.\u003c/p>\n\u003cfigure id=\"attachment_13967460\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13967460\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Mac-Dre-RIP-800x1067.jpg\" alt=\"Mac Dre's headstone, located at Mountain View Cemetery in Oakland. \" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Mac-Dre-RIP-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Mac-Dre-RIP-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Mac-Dre-RIP-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Mac-Dre-RIP-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Mac-Dre-RIP-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Mac-Dre-RIP-1536x2048.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Mac-Dre-RIP-scaled.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mac Dre’s headstone, located at Mountain View Cemetery in Oakland. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The gravesite has character. Two small pinwheels blow in the wind. There’s a couple coins, a piece of quartz and a small figurine of Ernie from Sesame Street. Two feathers stand atop the headstone, and at the center sits a six-inch metallic statuette of Mac Dre on a scooter in a straw hat and stunna shades — a \u003ca href=\"https://www.reddit.com/media?url=https%3A%2F%2Fpreview.redd.it%2Fo4k38u80jc741.jpg%3Fauto%3Dwebp%26s%3D923dc928f710936d8da6933dee7f5a723585bb94\">classic image\u003c/a> of the legend in Hawaii.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Born in Oakland on July 5, 1970, Dre grew up in Vallejo and became a proud representative of the Crestside neighborhood. But in reality, he held it down for the entire Bay Area.\u003c/p>\n\u003cp>His decorated rap career spanned 15 years. He recorded album after album, toured continuously and created a subculture within a subculture. His \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=0Lo0aiUxJ34\" target=\"_blank\" rel=\"noopener\">Treal T.V.\u003c/a>\u003c/em> documentary is a cultural cornerstone. And his contributions to our lexicon are undeniable. If the Bay Area had its say, “Thizz” would be in Webster’s Dictionary.\u003c/p>\n\u003cfigure id=\"attachment_13967496\" class=\"wp-caption aligncenter\" style=\"max-width: 1668px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967496\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/MacDre.NoahHaytin.FINALfinal.png\" alt=\"\" width=\"1668\" height=\"2388\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/MacDre.NoahHaytin.FINALfinal.png 1668w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/MacDre.NoahHaytin.FINALfinal-800x1145.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/MacDre.NoahHaytin.FINALfinal-1020x1460.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/MacDre.NoahHaytin.FINALfinal-160x229.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/MacDre.NoahHaytin.FINALfinal-768x1100.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/MacDre.NoahHaytin.FINALfinal-1073x1536.png 1073w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/MacDre.NoahHaytin.FINALfinal-1431x2048.png 1431w\" sizes=\"(max-width: 1668px) 100vw, 1668px\">\u003cfigcaption class=\"wp-caption-text\">(\u003cem>Illustration by Noah Haytin/\u003ca href=\"https://www.instagram.com/noh8tin/\">NOH8TIN\u003c/a>)\u003c/em>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite serving a five-year stint in a federal prison after being charged with conspiracy to commit bank robbery (a trial during which \u003ca href=\"https://www.kqed.org/news/11954252/did-mac-dre-really-go-to-prison-because-of-his-lyrics\" target=\"_blank\" rel=\"noopener\">his lyrics were played for the jury\u003c/a>), Mac Dre had a prolific music career unlike any other.\u003c/p>\n\u003cp>And it’s still going.\u003c/p>\n\u003cp>A decade after his death, aerosol artists \u003ca href=\"https://www.instagram.com/illuminaries/?hl=en\" target=\"_blank\" rel=\"noopener\">The Illuminaries\u003c/a> put up a mural of \u003ca href=\"https://x.com/warriors/status/609932704205766657\">Steph Curry in a classic Thizz face pose\u003c/a> for the NBA Finals in Oakland. Last year, Curry’s company Unanimous Media announced a forthcoming \u003ca href=\"https://www.kqed.org/arts/13935501/steph-curry-mac-dre-documentary-bay-area-hip-hop\" target=\"_blank\" rel=\"noopener\">Mac Dre documentary\u003c/a>.\u003c/p>\n\u003cp>And just last month, NFL star-turned-media personality Marshawn Lynch was in Cuba for Amazon TV’s NFL coverage, where \u003ca href=\"https://www.youtube.com/watch?v=bX2tJKo6wgs\" target=\"_blank\" rel=\"noopener\">he taught locals the Thizz Dance\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13967462\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13967462\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/CHbqj0GUcAAFcNa-800x449.jpg\" alt=\"Thizz Face Steph Curry, painted in 2015 on 27th Street and Northgate Avenue in Oakland by The Illuminaries (the mural is no longer standing). \" width=\"800\" height=\"449\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/CHbqj0GUcAAFcNa-800x449.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/CHbqj0GUcAAFcNa-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/CHbqj0GUcAAFcNa-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/CHbqj0GUcAAFcNa-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/CHbqj0GUcAAFcNa.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Thizz Face Steph Curry, painted in 2015 on 27th Street and Northgate Avenue in Oakland by The Illuminaries (the mural is no longer standing). \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And here I am, two decades after Mac Dre’s death, at his gravesite asking questions to the wind blowing through the pinwheels by his headstone.\u003c/p>\n\u003cp>\u003cem>You know you influenced everything from fashion to media, drug culture to car culture, spoken language to body language, right?\u003c/em>\u003c/p>\n\u003cp>Mac Dre was a man of many aliases — Andre Macassi, Ronald Dregan and more — but I was speaking to “Furl,” a.k.a. “The Furly Ghost.”\u003c/p>\n\u003cp>\u003cem>How did you do it, Furl? How do you become immortal? How do you influence generations of artists? How do you represent a region even after your demise? What does that mean for us? Are we haunted by the ghost of Furl, or are we enchanted by the legacy of a Mac named Dre? \u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13967465\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13967465\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/unnamed-1-800x535.jpg\" alt=\"The image of Mac Dre's 'Ronald Dregan: Dreganomics' album cover is shown in the background, as veteran Vallejo MC B-Legit performs at History of The Bay Day in San Francisco. \" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/unnamed-1-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/unnamed-1-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/unnamed-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/unnamed-1-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/unnamed-1-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/unnamed-1.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mac Dre’s ‘Ronald Dregan’ album cover hovers over veteran Vallejo MC B-Legit at History of The Bay Day in San Francisco. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[dropcap]T[/dropcap]he History of The Bay Day, an annual day party organized by podcast production duo, rapper \u003ca href=\"https://www.instagram.com/dregs_one/\" target=\"_blank\" rel=\"noopener\">Dregs One\u003c/a> and audio engineer \u003ca href=\"https://www.instagram.com/deo415/\" target=\"_blank\" rel=\"noopener\">DEO\u003c/a>, is a collage of Bay Area hip-hop culture. Graffiti writers, MCs, media makers and more rub shoulders as panel discussions and live performances take place on the main stage.\u003c/p>\n\u003cp>This year, I walk in with Mac Dre on my mind.\u003c/p>\n\u003cp>\u003cem>Is Furl’s spirit still here? What does Mac Dre mean to fans of Bay Area hip-hop history? Is the lingering presence of “hyphy culture” impeding the progress of current Bay Area rap?\u003c/em>\u003c/p>\n\u003cp>[aside postID='news_11954252']When \u003ca href=\"https://www.instagram.com/djshellheart/\" target=\"_blank\" rel=\"noopener\">\u003cstrong>DJ ShellHeart\u003c/strong>\u003c/a> plays Mac Dre during her events, she says, “it brings the party up to a whole ‘nother level, even in 2024.” Behind her dark-tinted sunglasses, ShellHeart’s eyes widen as she adds, “I get chills talking about it, that’s how I know his spirit is still here.”\u003c/p>\n\u003cp>In the snack line, \u003ca href=\"https://www.theringer.com/authors/logan-murdock\" target=\"_blank\" rel=\"noopener\">\u003cstrong>Logan Murdock\u003c/strong>\u003c/a>, writer for \u003cem>The Ringer\u003c/em> and co-host of \u003cem>The Real Ones\u003c/em>, tells me Mac Dre’s legacy lives on because there were “so many different versions of Dre, just like there are so many different versions of the Bay.” And as far as moving beyond the hyphy era, Murdock urges people to acknowledge the variety of Bay Area artists since Dre’s passing. “Artists like 22nd Jim, AllBlack, SOB x RBE, and others who’ve taken the genre forward,” he says.\u003c/p>\n\u003cfigure id=\"attachment_13930745\" class=\"wp-caption aligncenter\" style=\"max-width: 999px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13930745\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/mac-dre.png\" alt=\"Mac Dre performs on stage in the early 2000s, wearing giant sunglasses, a striped polo shirt and Adidas jacket.\" width=\"999\" height=\"751\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/mac-dre.png 999w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/mac-dre-800x601.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/mac-dre-160x120.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/mac-dre-768x577.png 768w\" sizes=\"(max-width: 999px) 100vw, 999px\">\u003cfigcaption class=\"wp-caption-text\">Mac Dre onstage in the early 2000s. \u003ccite>(D-Ray)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I run into producer \u003cstrong>\u003ca href=\"https://www.instagram.com/trackademicks/?hl=en\">\u003cstrong>Trackademicks\u003c/strong>\u003c/a>\u003c/strong>, who compares Dre’s contribution to Bay Area hip-hop to the corn tortilla’s place in Mexican cuisine. “It’s part of our cultural fabric.” And just like there’s so much more to Mexican cuisine, there’s more to Bay Area hip-hop culture. “When folks decide to fixate,” says Trackademicks, “thinking you can only be the corn tortilla, that’s where the problems lie.”\u003c/p>\n\u003cp>As for Mac Dre being a vital ingredient in our cultural roux, \u003ca href=\"https://www.instagram.com/a.m.a.lllllll/\" target=\"_blank\" rel=\"noopener\">\u003cstrong>DJ Amal\u003c/strong>\u003c/a> tells me that “Mac Dre gave us weird. He gave us different. He gave us obscure.” His influence, and the imprint of the hyphy era, is present in new artists both in and out of the Bay, she says. “It’s a reference point, it’s a foundation for a lot of stuff that we do now.”\u003c/p>\n\u003cp>[aside postID='arts_13930686']On the venue’s back patio, \u003ca href=\"https://www.instagram.com/djhholla/\" target=\"_blank\" rel=\"noopener\">DJ H Holla\u003c/a> plays Mac Dre’s “Get Stupid.” Upstairs on the terrace, Oakland-based lyricist \u003ca href=\"https://www.instagram.com/aliasharrief/\" target=\"_blank\" rel=\"noopener\">\u003cstrong>Alia Sharrief\u003c/strong>\u003c/a> doesn’t hesitate to tell me, “Mac Dre is the reason we’re \u003ca href=\"https://genius.com/198388\" target=\"_blank\" rel=\"noopener\">dipped in A.1.\u003c/a>”\u003c/p>\n\u003cp>“People are going to have their positives and negatives as far as impact and music and message,” Sharrief adds, referring to Dre’s promotion of pimping and pandering. “But when it comes to being happy, having heart and soul for the Bay Area… Mac Dre did that. And he still got us feeling ourselves today.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=TepB8KXVZIk\u003c/p>\n\u003cp>San Francisco photographer \u003ca href=\"https://www.instagram.com/stson_/\" target=\"_blank\" rel=\"noopener\">\u003cstrong>Stetson Hines\u003c/strong>\u003c/a> notes that Mac Dre’s work brought economic growth. Talking about Dre’s \u003cem>Treal T.V.\u003c/em> and other media endeavors, Hines asks, “You ever think about the \u003ca href=\"https://48hills.org/2022/12/meet-the-videographer-behind-mac-dres-historic-90s-treal-t-v/\" target=\"_blank\" rel=\"noopener\">videographers\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13951122/d-ray-bay-area-hip-hop-photographer\" target=\"_blank\" rel=\"noopener\">photographers\u003c/a> it created?”\u003c/p>\n\u003cp>Well-known Pittsburg rapper and Mac Dre collaborator \u003ca href=\"https://www.instagram.com/golasoaso/?hl=en\" target=\"_blank\" rel=\"noopener\">\u003cstrong>Husalah\u003c/strong>\u003c/a> says Dre’s spirit has persevered because he represents a fading identity, “the street guys.” Akin to mobsters in Chicago, Husalah says they were once looked down upon, but now they’re celebrated.\u003c/p>\n\u003cp>“It’s an outlaw life,” says Husalah, before going on stage. “We was cutthroats, pirates. Mac Dre was a pirate,” he says, explaining how as free-spirited artists with street ties they’d live freely, eating off of the land, drinking wine and playing their metaphorical “fiddle or violin.”\u003c/p>\n\u003cp>People romanticize artists from the true underground, Husalah says, and “Mac Dre represents one of the most authentic subcultures.”\u003c/p>\n\u003cfigure id=\"attachment_13967501\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967501\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/009_9.jpg\" alt=\"\" width=\"1500\" height=\"1000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/009_9.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/009_9-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/009_9-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/009_9-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/009_9-768x512.jpg 768w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">A mural of Mac Dre in Langton Alley in San Francisco, circa 2005. \u003ccite>(Elizabeth Seward)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Before leaving, I talk with rapper, producer and studio engineer \u003ca href=\"https://www.kqed.org/arts/13897503/rapper-and-audio-engineer-xarina-opens-a-studio-of-her-own-in-east-oakland\" target=\"_blank\" rel=\"noopener\">\u003cstrong>Xarina\u003c/strong>\u003c/a>.\u003c/p>\n\u003cp>When asked if she hears Mac Dre’s influence in the rappers she works with, she says matter-of-factly: “I record Mistah F.A.B. … When he feels like rapping like Mac Dre, he will rap like Mac Dre. In 2024.”\u003c/p>\n\u003cp>She adds that other artists — Seiji Oda, LaRussell, and Nef the Pharoah to name a few — have taken aspects of Dre’s style and “flipped it and made it new and fresh.”\u003c/p>\n\u003cp>“He’s hyphy,” Xarina says of Seiji Oda. “But it’s not same hyphy. It’s a refined new hyphy that fits into 2024.”\u003c/p>\n\u003cfigure id=\"attachment_13967464\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13967464\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/0-1-800x1185.jpg\" alt=\"Artist Billy Blaze says his image of Mac Dre as the Furly Ghost is one of his most popular illustrations.\" width=\"800\" height=\"1185\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/0-1-800x1185.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/0-1-1020x1511.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/0-1-160x237.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/0-1-768x1138.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/0-1-1037x1536.jpg 1037w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/0-1.jpg 1061w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist Billy Blaze says his image of Mac Dre as the Furly Ghost is one of his most popular illustrations. \u003ccite>(Courtesy of Billy Blaze)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.instagram.com/seijioda/?hl=en\" target=\"_blank\" rel=\"noopener\">\u003cstrong>Seiji Oda\u003c/strong>\u003c/a> is a 26 year-old Japanese and Panamanian guy from Oakland who makes “lo-fi hyphy” music; it’s tranquil yet saucy, and it’s recently gained momentum.\u003c/p>\n\u003cp>After he produced the beat for his latest track, “\u003ca href=\"https://soundcloud.com/seijioda/peaceful\" target=\"_blank\" rel=\"noopener\">Peaceful\u003c/a>,” a friend pointed out that Oda had inadvertently flipped Mac Dre’s “Thizzle Dance” without realizing it.\u003c/p>\n\u003cp>“Intrinsically,” he says, “I heard it and I felt it.”\u003c/p>\n\u003cp>Seiji Oda was just six when Mac Dre was killed, and says he got Mac Dre vibes secondhand from the artists who were popular in the 2010s. “I was listening to \u003ca href=\"https://www.instagram.com/ezalecantseewell/?hl=en\" target=\"_blank\" rel=\"noopener\">Ezale\u003c/a> and \u003ca href=\"https://www.instagram.com/p_lo/?hl=en\" target=\"_blank\" rel=\"noopener\">P-Lo\u003c/a>,” says Seiji Oda during a phone call. He watched their videos, noticing how they embodied aspects of Dre’s music. “The way that it was passed down to us,” says Seiji Oda, “was through that lineage.”\u003c/p>\n\u003cfigure id=\"attachment_13967498\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967498\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/MacDre.YBB_.jpg\" alt=\"\" width=\"1000\" height=\"991\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/MacDre.YBB_.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/MacDre.YBB_-800x793.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/MacDre.YBB_-160x159.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/MacDre.YBB_-768x761.jpg 768w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">Mac Dre’s ‘Young Black Brotha,’ recorded around the time he first met Ray Luv. \u003ccite>(Young Black Brotha Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Few can speak to Bay Area hip-hop lineage like \u003ca href=\"https://www.instagram.com/therealrayluv/?hl=en\" target=\"_blank\" rel=\"noopener\">\u003cstrong>Ray Luv\u003c/strong>\u003c/a>. Raised in Santa Rosa, as a teen he was close friends with Tupac, as a young adult he had his own career as an MC and nowadays Luv is the COO of Thizz Entertainment, managing Mac Dre’s estate.\u003c/p>\n\u003cp>Luv even has a story of Mac Dre and Tupac sharing the the same space.\u003c/p>\n\u003cp>In high school, Luv and Tupac once cut class to visit a video shoot for a Too Short song featuring Ice Cube. As Luv, Tupac and Shock G of The Digital Underground were being interviewed by famed comedian Mark Curry, Mac Dre arrived.\u003c/p>\n\u003cp>“When Mac Dre got to the door, everybody stopped, and all you heard was ‘Mac Dre!'” exclaims Luv, elevating the pitch in his tone to imitate the guests. “This was a room full of stars and celebrities, but Mac Dre was one of those figures, like Pac in a way; a star among stars.”\u003c/p>\n\u003cfigure id=\"attachment_13886730\" class=\"wp-caption aligncenter\" style=\"max-width: 1198px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13886730\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Screen-Shot-2020-09-23-at-10.02.09-AM.png\" alt=\"V White and Mac Dre in Big Pimpin' Turf Clothes\" width=\"1198\" height=\"1184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Screen-Shot-2020-09-23-at-10.02.09-AM.png 1198w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Screen-Shot-2020-09-23-at-10.02.09-AM-800x791.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Screen-Shot-2020-09-23-at-10.02.09-AM-1020x1008.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Screen-Shot-2020-09-23-at-10.02.09-AM-160x158.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Screen-Shot-2020-09-23-at-10.02.09-AM-768x759.png 768w\" sizes=\"(max-width: 1198px) 100vw, 1198px\">\u003cfigcaption class=\"wp-caption-text\">V White and Mac Dre in Big Pimpin’ Turf Clothes. \u003ccite>(Big Printing Archives)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Luv says that these days, Dre’s brand is active, with companies regularly reaching out for potential action figures and hologram collaborations. “Without any marketing or promotion,” adds Luv, “he does millions of streams every month.”\u003c/p>\n\u003cp>Why has Dre’s brand and spirit stood the test of time?\u003c/p>\n\u003cp>“The reason we haven’t, per se, grown past Mac Dre, is because I don’t think that he’s someone to grow past,” says Luv, before remixing an iconic Maya Angelou quote. “People may not remember the words to your songs — they might not remember \u003cem>any\u003c/em> of your songs — but they will always remember the way you made them feel.”\u003c/p>\n\u003cp>And Mac Dre made us feel ourselves.\u003c/p>\n\u003cfigure id=\"attachment_13924556\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13924556\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/MacDre.chez_.featured.jpg\" alt=\"a spraypainted mural of the rap artist mac dre\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/MacDre.chez_.featured.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/MacDre.chez_.featured-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/MacDre.chez_.featured-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/MacDre.chez_.featured-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/MacDre.chez_.featured-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/MacDre.chez_.featured-1536x864.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A Mac Dre mural on Foothill Boulevard in Oakland by artist Chez. \u003ccite>(Laurence Madrigal/We Were Hyphy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[dropcap]T[/dropcap]o understand Mac Dre’s impact, I revisited his discography and looked at old photos. I drove around, taking note of murals and stickers with with Mac Dre’s imagery, as well as people wearing Thizz gear. In 2024.\u003c/p>\n\u003cp>I spent time listening to a wide array of artists eager to discuss Dre’s legacy.\u003c/p>\n\u003cp>Famed Oakland-born actor \u003ca href=\"https://daveeddiggs.com/\" target=\"_blank\" rel=\"noopener\">\u003cstrong>Daveed Diggs\u003c/strong>\u003c/a> asserts that Mac Dre “is under-appreciated as a lyricist and as a originator of cadences.” His hip-hop group \u003ca href=\"https://www.instagram.com/clppng/?hl=en\" target=\"_blank\" rel=\"noopener\">clipping.\u003c/a> often uses Mac Dre songs as a reference for a particular feel, Diggs says, and deeper cuts like “Since ’84” and “Me Damac” are some of his favorite Mac Dre tracks.\u003c/p>\n\u003cp>[aside postID='arts_13934874']“If I ever had written a verse as good as any of those,” Diggs testifies, “I would have stopped, I would’ve just stopped.”\u003c/p>\n\u003cp>Angelically hyphy extraterrestrial Frisco native \u003ca href=\"https://www.instagram.com/alienmackitty/\" target=\"_blank\" rel=\"noopener\">Alien Mac Kitty\u003c/a> (AMK) attributes the “Mac” in her name to Mac Dre. In a voice note, she says she carries on that spirit, just as \u003ca href=\"https://www.kqed.org/arts/13928057/alien-mac-kitty-cougnut-daughter-san-francisco-frisco-rap-legacy\" target=\"_blank\" rel=\"noopener\">she carries on the legacy of her late father\u003c/a>, pioneering San Francisco rapper Cougnut. “He and Dre were actually really cool,” says AMK, adding that Mac Dre made everything fun, funky and colorful, in the most respectful way. The underground lyricist says that “Furl is still alive, and his spirit runs through the entire Bay Area renaissance right now.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The journey — all of the conversations — were worth it. But the answers to my questions were in the soil at Mac Dre’s gravesite all along. The cigarette butts and tiny trinkets, the holistic stones and loose change donated to the patron saint of the hyphy movement. All evidence that Mac Dre’s spirt, the ghost of Furl, is still alive — and it lives in the people.\u003c/p>\n\n",
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"excerpt": "Mac Dre influenced the Bay Area immeasurably. Twenty years later, we're still enchanted by the Furly Ghost.",
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"title": "20 Years After Mac Dre’s Death, the Furly Ghost Still Lingers | KQED",
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"headline": "20 Years After Mac Dre’s Death, the Furly Ghost Still Lingers",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">W\u003c/span>\u003c/p>\u003cp>hen I ask the security guard at Oakland’s Mountain View Cemetery for directions to Plot 47, he replies, “You lookin’ for Dre?”\u003c/p>\n\u003cp>He’s an older brown-skinned man in a crossing guard vest, sporty sunglasses and an afro protruding from a trucker hat, his hair seasoned by strands of grey. As I talk to the thin, tall, square-shouldered brotha, I wonder: Is this what Mac Dre would’ve looked like had he been able to see elderhood?\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">As he hands me a map, he says folks always come looking for Mac Dre’s burial site, usually to take pictures and leave tokens of appreciation.\u003c/p>\n\u003cp>Those visitors are about to arrive in large numbers. On Nov. 1, 2004, Mac Dre was shot and killed in Kansas City at age 34. Which means that Friday, Nov. 1, will mark 20 years since his death, and a loss felt in every pocket of the Bay.\u003c/p>\n\u003cp>A week before the anniversary, I get to the gravesite and take in each letter engraved in the mahogany-colored marble headstone. ANDRE ‘MAC DRE’ HICKS.\u003c/p>\n\u003cfigure id=\"attachment_13967460\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13967460\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Mac-Dre-RIP-800x1067.jpg\" alt=\"Mac Dre's headstone, located at Mountain View Cemetery in Oakland. \" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Mac-Dre-RIP-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Mac-Dre-RIP-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Mac-Dre-RIP-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Mac-Dre-RIP-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Mac-Dre-RIP-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Mac-Dre-RIP-1536x2048.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Mac-Dre-RIP-scaled.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mac Dre’s headstone, located at Mountain View Cemetery in Oakland. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The gravesite has character. Two small pinwheels blow in the wind. There’s a couple coins, a piece of quartz and a small figurine of Ernie from Sesame Street. Two feathers stand atop the headstone, and at the center sits a six-inch metallic statuette of Mac Dre on a scooter in a straw hat and stunna shades — a \u003ca href=\"https://www.reddit.com/media?url=https%3A%2F%2Fpreview.redd.it%2Fo4k38u80jc741.jpg%3Fauto%3Dwebp%26s%3D923dc928f710936d8da6933dee7f5a723585bb94\">classic image\u003c/a> of the legend in Hawaii.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Born in Oakland on July 5, 1970, Dre grew up in Vallejo and became a proud representative of the Crestside neighborhood. But in reality, he held it down for the entire Bay Area.\u003c/p>\n\u003cp>His decorated rap career spanned 15 years. He recorded album after album, toured continuously and created a subculture within a subculture. His \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=0Lo0aiUxJ34\" target=\"_blank\" rel=\"noopener\">Treal T.V.\u003c/a>\u003c/em> documentary is a cultural cornerstone. And his contributions to our lexicon are undeniable. If the Bay Area had its say, “Thizz” would be in Webster’s Dictionary.\u003c/p>\n\u003cfigure id=\"attachment_13967496\" class=\"wp-caption aligncenter\" style=\"max-width: 1668px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967496\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/MacDre.NoahHaytin.FINALfinal.png\" alt=\"\" width=\"1668\" height=\"2388\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/MacDre.NoahHaytin.FINALfinal.png 1668w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/MacDre.NoahHaytin.FINALfinal-800x1145.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/MacDre.NoahHaytin.FINALfinal-1020x1460.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/MacDre.NoahHaytin.FINALfinal-160x229.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/MacDre.NoahHaytin.FINALfinal-768x1100.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/MacDre.NoahHaytin.FINALfinal-1073x1536.png 1073w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/MacDre.NoahHaytin.FINALfinal-1431x2048.png 1431w\" sizes=\"(max-width: 1668px) 100vw, 1668px\">\u003cfigcaption class=\"wp-caption-text\">(\u003cem>Illustration by Noah Haytin/\u003ca href=\"https://www.instagram.com/noh8tin/\">NOH8TIN\u003c/a>)\u003c/em>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite serving a five-year stint in a federal prison after being charged with conspiracy to commit bank robbery (a trial during which \u003ca href=\"https://www.kqed.org/news/11954252/did-mac-dre-really-go-to-prison-because-of-his-lyrics\" target=\"_blank\" rel=\"noopener\">his lyrics were played for the jury\u003c/a>), Mac Dre had a prolific music career unlike any other.\u003c/p>\n\u003cp>And it’s still going.\u003c/p>\n\u003cp>A decade after his death, aerosol artists \u003ca href=\"https://www.instagram.com/illuminaries/?hl=en\" target=\"_blank\" rel=\"noopener\">The Illuminaries\u003c/a> put up a mural of \u003ca href=\"https://x.com/warriors/status/609932704205766657\">Steph Curry in a classic Thizz face pose\u003c/a> for the NBA Finals in Oakland. Last year, Curry’s company Unanimous Media announced a forthcoming \u003ca href=\"https://www.kqed.org/arts/13935501/steph-curry-mac-dre-documentary-bay-area-hip-hop\" target=\"_blank\" rel=\"noopener\">Mac Dre documentary\u003c/a>.\u003c/p>\n\u003cp>And just last month, NFL star-turned-media personality Marshawn Lynch was in Cuba for Amazon TV’s NFL coverage, where \u003ca href=\"https://www.youtube.com/watch?v=bX2tJKo6wgs\" target=\"_blank\" rel=\"noopener\">he taught locals the Thizz Dance\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13967462\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13967462\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/CHbqj0GUcAAFcNa-800x449.jpg\" alt=\"Thizz Face Steph Curry, painted in 2015 on 27th Street and Northgate Avenue in Oakland by The Illuminaries (the mural is no longer standing). \" width=\"800\" height=\"449\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/CHbqj0GUcAAFcNa-800x449.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/CHbqj0GUcAAFcNa-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/CHbqj0GUcAAFcNa-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/CHbqj0GUcAAFcNa-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/CHbqj0GUcAAFcNa.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Thizz Face Steph Curry, painted in 2015 on 27th Street and Northgate Avenue in Oakland by The Illuminaries (the mural is no longer standing). \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And here I am, two decades after Mac Dre’s death, at his gravesite asking questions to the wind blowing through the pinwheels by his headstone.\u003c/p>\n\u003cp>\u003cem>You know you influenced everything from fashion to media, drug culture to car culture, spoken language to body language, right?\u003c/em>\u003c/p>\n\u003cp>Mac Dre was a man of many aliases — Andre Macassi, Ronald Dregan and more — but I was speaking to “Furl,” a.k.a. “The Furly Ghost.”\u003c/p>\n\u003cp>\u003cem>How did you do it, Furl? How do you become immortal? How do you influence generations of artists? How do you represent a region even after your demise? What does that mean for us? Are we haunted by the ghost of Furl, or are we enchanted by the legacy of a Mac named Dre? \u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13967465\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13967465\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/unnamed-1-800x535.jpg\" alt=\"The image of Mac Dre's 'Ronald Dregan: Dreganomics' album cover is shown in the background, as veteran Vallejo MC B-Legit performs at History of The Bay Day in San Francisco. \" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/unnamed-1-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/unnamed-1-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/unnamed-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/unnamed-1-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/unnamed-1-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/unnamed-1.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mac Dre’s ‘Ronald Dregan’ album cover hovers over veteran Vallejo MC B-Legit at History of The Bay Day in San Francisco. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">T\u003c/span>\u003c/p>\u003cp>he History of The Bay Day, an annual day party organized by podcast production duo, rapper \u003ca href=\"https://www.instagram.com/dregs_one/\" target=\"_blank\" rel=\"noopener\">Dregs One\u003c/a> and audio engineer \u003ca href=\"https://www.instagram.com/deo415/\" target=\"_blank\" rel=\"noopener\">DEO\u003c/a>, is a collage of Bay Area hip-hop culture. Graffiti writers, MCs, media makers and more rub shoulders as panel discussions and live performances take place on the main stage.\u003c/p>\n\u003cp>This year, I walk in with Mac Dre on my mind.\u003c/p>\n\u003cp>\u003cem>Is Furl’s spirit still here? What does Mac Dre mean to fans of Bay Area hip-hop history? Is the lingering presence of “hyphy culture” impeding the progress of current Bay Area rap?\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>When \u003ca href=\"https://www.instagram.com/djshellheart/\" target=\"_blank\" rel=\"noopener\">\u003cstrong>DJ ShellHeart\u003c/strong>\u003c/a> plays Mac Dre during her events, she says, “it brings the party up to a whole ‘nother level, even in 2024.” Behind her dark-tinted sunglasses, ShellHeart’s eyes widen as she adds, “I get chills talking about it, that’s how I know his spirit is still here.”\u003c/p>\n\u003cp>In the snack line, \u003ca href=\"https://www.theringer.com/authors/logan-murdock\" target=\"_blank\" rel=\"noopener\">\u003cstrong>Logan Murdock\u003c/strong>\u003c/a>, writer for \u003cem>The Ringer\u003c/em> and co-host of \u003cem>The Real Ones\u003c/em>, tells me Mac Dre’s legacy lives on because there were “so many different versions of Dre, just like there are so many different versions of the Bay.” And as far as moving beyond the hyphy era, Murdock urges people to acknowledge the variety of Bay Area artists since Dre’s passing. “Artists like 22nd Jim, AllBlack, SOB x RBE, and others who’ve taken the genre forward,” he says.\u003c/p>\n\u003cfigure id=\"attachment_13930745\" class=\"wp-caption aligncenter\" style=\"max-width: 999px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13930745\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/mac-dre.png\" alt=\"Mac Dre performs on stage in the early 2000s, wearing giant sunglasses, a striped polo shirt and Adidas jacket.\" width=\"999\" height=\"751\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/mac-dre.png 999w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/mac-dre-800x601.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/mac-dre-160x120.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/mac-dre-768x577.png 768w\" sizes=\"(max-width: 999px) 100vw, 999px\">\u003cfigcaption class=\"wp-caption-text\">Mac Dre onstage in the early 2000s. \u003ccite>(D-Ray)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I run into producer \u003cstrong>\u003ca href=\"https://www.instagram.com/trackademicks/?hl=en\">\u003cstrong>Trackademicks\u003c/strong>\u003c/a>\u003c/strong>, who compares Dre’s contribution to Bay Area hip-hop to the corn tortilla’s place in Mexican cuisine. “It’s part of our cultural fabric.” And just like there’s so much more to Mexican cuisine, there’s more to Bay Area hip-hop culture. “When folks decide to fixate,” says Trackademicks, “thinking you can only be the corn tortilla, that’s where the problems lie.”\u003c/p>\n\u003cp>As for Mac Dre being a vital ingredient in our cultural roux, \u003ca href=\"https://www.instagram.com/a.m.a.lllllll/\" target=\"_blank\" rel=\"noopener\">\u003cstrong>DJ Amal\u003c/strong>\u003c/a> tells me that “Mac Dre gave us weird. He gave us different. He gave us obscure.” His influence, and the imprint of the hyphy era, is present in new artists both in and out of the Bay, she says. “It’s a reference point, it’s a foundation for a lot of stuff that we do now.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>On the venue’s back patio, \u003ca href=\"https://www.instagram.com/djhholla/\" target=\"_blank\" rel=\"noopener\">DJ H Holla\u003c/a> plays Mac Dre’s “Get Stupid.” Upstairs on the terrace, Oakland-based lyricist \u003ca href=\"https://www.instagram.com/aliasharrief/\" target=\"_blank\" rel=\"noopener\">\u003cstrong>Alia Sharrief\u003c/strong>\u003c/a> doesn’t hesitate to tell me, “Mac Dre is the reason we’re \u003ca href=\"https://genius.com/198388\" target=\"_blank\" rel=\"noopener\">dipped in A.1.\u003c/a>”\u003c/p>\n\u003cp>“People are going to have their positives and negatives as far as impact and music and message,” Sharrief adds, referring to Dre’s promotion of pimping and pandering. “But when it comes to being happy, having heart and soul for the Bay Area… Mac Dre did that. And he still got us feeling ourselves today.”\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/TepB8KXVZIk'\n title='//www.youtube.com/embed/TepB8KXVZIk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>San Francisco photographer \u003ca href=\"https://www.instagram.com/stson_/\" target=\"_blank\" rel=\"noopener\">\u003cstrong>Stetson Hines\u003c/strong>\u003c/a> notes that Mac Dre’s work brought economic growth. Talking about Dre’s \u003cem>Treal T.V.\u003c/em> and other media endeavors, Hines asks, “You ever think about the \u003ca href=\"https://48hills.org/2022/12/meet-the-videographer-behind-mac-dres-historic-90s-treal-t-v/\" target=\"_blank\" rel=\"noopener\">videographers\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13951122/d-ray-bay-area-hip-hop-photographer\" target=\"_blank\" rel=\"noopener\">photographers\u003c/a> it created?”\u003c/p>\n\u003cp>Well-known Pittsburg rapper and Mac Dre collaborator \u003ca href=\"https://www.instagram.com/golasoaso/?hl=en\" target=\"_blank\" rel=\"noopener\">\u003cstrong>Husalah\u003c/strong>\u003c/a> says Dre’s spirit has persevered because he represents a fading identity, “the street guys.” Akin to mobsters in Chicago, Husalah says they were once looked down upon, but now they’re celebrated.\u003c/p>\n\u003cp>“It’s an outlaw life,” says Husalah, before going on stage. “We was cutthroats, pirates. Mac Dre was a pirate,” he says, explaining how as free-spirited artists with street ties they’d live freely, eating off of the land, drinking wine and playing their metaphorical “fiddle or violin.”\u003c/p>\n\u003cp>People romanticize artists from the true underground, Husalah says, and “Mac Dre represents one of the most authentic subcultures.”\u003c/p>\n\u003cfigure id=\"attachment_13967501\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967501\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/009_9.jpg\" alt=\"\" width=\"1500\" height=\"1000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/009_9.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/009_9-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/009_9-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/009_9-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/009_9-768x512.jpg 768w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">A mural of Mac Dre in Langton Alley in San Francisco, circa 2005. \u003ccite>(Elizabeth Seward)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Before leaving, I talk with rapper, producer and studio engineer \u003ca href=\"https://www.kqed.org/arts/13897503/rapper-and-audio-engineer-xarina-opens-a-studio-of-her-own-in-east-oakland\" target=\"_blank\" rel=\"noopener\">\u003cstrong>Xarina\u003c/strong>\u003c/a>.\u003c/p>\n\u003cp>When asked if she hears Mac Dre’s influence in the rappers she works with, she says matter-of-factly: “I record Mistah F.A.B. … When he feels like rapping like Mac Dre, he will rap like Mac Dre. In 2024.”\u003c/p>\n\u003cp>She adds that other artists — Seiji Oda, LaRussell, and Nef the Pharoah to name a few — have taken aspects of Dre’s style and “flipped it and made it new and fresh.”\u003c/p>\n\u003cp>“He’s hyphy,” Xarina says of Seiji Oda. “But it’s not same hyphy. It’s a refined new hyphy that fits into 2024.”\u003c/p>\n\u003cfigure id=\"attachment_13967464\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13967464\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/0-1-800x1185.jpg\" alt=\"Artist Billy Blaze says his image of Mac Dre as the Furly Ghost is one of his most popular illustrations.\" width=\"800\" height=\"1185\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/0-1-800x1185.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/0-1-1020x1511.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/0-1-160x237.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/0-1-768x1138.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/0-1-1037x1536.jpg 1037w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/0-1.jpg 1061w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist Billy Blaze says his image of Mac Dre as the Furly Ghost is one of his most popular illustrations. \u003ccite>(Courtesy of Billy Blaze)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.instagram.com/seijioda/?hl=en\" target=\"_blank\" rel=\"noopener\">\u003cstrong>Seiji Oda\u003c/strong>\u003c/a> is a 26 year-old Japanese and Panamanian guy from Oakland who makes “lo-fi hyphy” music; it’s tranquil yet saucy, and it’s recently gained momentum.\u003c/p>\n\u003cp>After he produced the beat for his latest track, “\u003ca href=\"https://soundcloud.com/seijioda/peaceful\" target=\"_blank\" rel=\"noopener\">Peaceful\u003c/a>,” a friend pointed out that Oda had inadvertently flipped Mac Dre’s “Thizzle Dance” without realizing it.\u003c/p>\n\u003cp>“Intrinsically,” he says, “I heard it and I felt it.”\u003c/p>\n\u003cp>Seiji Oda was just six when Mac Dre was killed, and says he got Mac Dre vibes secondhand from the artists who were popular in the 2010s. “I was listening to \u003ca href=\"https://www.instagram.com/ezalecantseewell/?hl=en\" target=\"_blank\" rel=\"noopener\">Ezale\u003c/a> and \u003ca href=\"https://www.instagram.com/p_lo/?hl=en\" target=\"_blank\" rel=\"noopener\">P-Lo\u003c/a>,” says Seiji Oda during a phone call. He watched their videos, noticing how they embodied aspects of Dre’s music. “The way that it was passed down to us,” says Seiji Oda, “was through that lineage.”\u003c/p>\n\u003cfigure id=\"attachment_13967498\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967498\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/MacDre.YBB_.jpg\" alt=\"\" width=\"1000\" height=\"991\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/MacDre.YBB_.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/MacDre.YBB_-800x793.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/MacDre.YBB_-160x159.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/MacDre.YBB_-768x761.jpg 768w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">Mac Dre’s ‘Young Black Brotha,’ recorded around the time he first met Ray Luv. \u003ccite>(Young Black Brotha Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Few can speak to Bay Area hip-hop lineage like \u003ca href=\"https://www.instagram.com/therealrayluv/?hl=en\" target=\"_blank\" rel=\"noopener\">\u003cstrong>Ray Luv\u003c/strong>\u003c/a>. Raised in Santa Rosa, as a teen he was close friends with Tupac, as a young adult he had his own career as an MC and nowadays Luv is the COO of Thizz Entertainment, managing Mac Dre’s estate.\u003c/p>\n\u003cp>Luv even has a story of Mac Dre and Tupac sharing the the same space.\u003c/p>\n\u003cp>In high school, Luv and Tupac once cut class to visit a video shoot for a Too Short song featuring Ice Cube. As Luv, Tupac and Shock G of The Digital Underground were being interviewed by famed comedian Mark Curry, Mac Dre arrived.\u003c/p>\n\u003cp>“When Mac Dre got to the door, everybody stopped, and all you heard was ‘Mac Dre!'” exclaims Luv, elevating the pitch in his tone to imitate the guests. “This was a room full of stars and celebrities, but Mac Dre was one of those figures, like Pac in a way; a star among stars.”\u003c/p>\n\u003cfigure id=\"attachment_13886730\" class=\"wp-caption aligncenter\" style=\"max-width: 1198px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13886730\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Screen-Shot-2020-09-23-at-10.02.09-AM.png\" alt=\"V White and Mac Dre in Big Pimpin' Turf Clothes\" width=\"1198\" height=\"1184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Screen-Shot-2020-09-23-at-10.02.09-AM.png 1198w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Screen-Shot-2020-09-23-at-10.02.09-AM-800x791.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Screen-Shot-2020-09-23-at-10.02.09-AM-1020x1008.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Screen-Shot-2020-09-23-at-10.02.09-AM-160x158.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Screen-Shot-2020-09-23-at-10.02.09-AM-768x759.png 768w\" sizes=\"(max-width: 1198px) 100vw, 1198px\">\u003cfigcaption class=\"wp-caption-text\">V White and Mac Dre in Big Pimpin’ Turf Clothes. \u003ccite>(Big Printing Archives)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Luv says that these days, Dre’s brand is active, with companies regularly reaching out for potential action figures and hologram collaborations. “Without any marketing or promotion,” adds Luv, “he does millions of streams every month.”\u003c/p>\n\u003cp>Why has Dre’s brand and spirit stood the test of time?\u003c/p>\n\u003cp>“The reason we haven’t, per se, grown past Mac Dre, is because I don’t think that he’s someone to grow past,” says Luv, before remixing an iconic Maya Angelou quote. “People may not remember the words to your songs — they might not remember \u003cem>any\u003c/em> of your songs — but they will always remember the way you made them feel.”\u003c/p>\n\u003cp>And Mac Dre made us feel ourselves.\u003c/p>\n\u003cfigure id=\"attachment_13924556\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13924556\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/MacDre.chez_.featured.jpg\" alt=\"a spraypainted mural of the rap artist mac dre\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/MacDre.chez_.featured.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/MacDre.chez_.featured-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/MacDre.chez_.featured-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/MacDre.chez_.featured-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/MacDre.chez_.featured-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/MacDre.chez_.featured-1536x864.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A Mac Dre mural on Foothill Boulevard in Oakland by artist Chez. \u003ccite>(Laurence Madrigal/We Were Hyphy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">T\u003c/span>\u003c/p>\u003cp>o understand Mac Dre’s impact, I revisited his discography and looked at old photos. I drove around, taking note of murals and stickers with with Mac Dre’s imagery, as well as people wearing Thizz gear. In 2024.\u003c/p>\n\u003cp>I spent time listening to a wide array of artists eager to discuss Dre’s legacy.\u003c/p>\n\u003cp>Famed Oakland-born actor \u003ca href=\"https://daveeddiggs.com/\" target=\"_blank\" rel=\"noopener\">\u003cstrong>Daveed Diggs\u003c/strong>\u003c/a> asserts that Mac Dre “is under-appreciated as a lyricist and as a originator of cadences.” His hip-hop group \u003ca href=\"https://www.instagram.com/clppng/?hl=en\" target=\"_blank\" rel=\"noopener\">clipping.\u003c/a> often uses Mac Dre songs as a reference for a particular feel, Diggs says, and deeper cuts like “Since ’84” and “Me Damac” are some of his favorite Mac Dre tracks.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“If I ever had written a verse as good as any of those,” Diggs testifies, “I would have stopped, I would’ve just stopped.”\u003c/p>\n\u003cp>Angelically hyphy extraterrestrial Frisco native \u003ca href=\"https://www.instagram.com/alienmackitty/\" target=\"_blank\" rel=\"noopener\">Alien Mac Kitty\u003c/a> (AMK) attributes the “Mac” in her name to Mac Dre. In a voice note, she says she carries on that spirit, just as \u003ca href=\"https://www.kqed.org/arts/13928057/alien-mac-kitty-cougnut-daughter-san-francisco-frisco-rap-legacy\" target=\"_blank\" rel=\"noopener\">she carries on the legacy of her late father\u003c/a>, pioneering San Francisco rapper Cougnut. “He and Dre were actually really cool,” says AMK, adding that Mac Dre made everything fun, funky and colorful, in the most respectful way. The underground lyricist says that “Furl is still alive, and his spirit runs through the entire Bay Area renaissance right now.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The journey — all of the conversations — were worth it. But the answers to my questions were in the soil at Mac Dre’s gravesite all along. The cigarette butts and tiny trinkets, the holistic stones and loose change donated to the patron saint of the hyphy movement. All evidence that Mac Dre’s spirt, the ghost of Furl, is still alive — and it lives in the people.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "SF Hip-Hop Month Rolls Out Concerts, Dance Battles and More",
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"content": "\u003cp>November is Hip-Hop History Month — Congress officially designated it last year — and the Bay Area is celebrating how we dance a little different. Starting Nov. 1, the organization \u003ca href=\"https://url.us.m.mimecastprotect.com/s/nfIqCrkYKnfnW234h7fxF4nfhf?domain=sfhiphop.org\">SF Hip-Hop\u003c/a> is rolling out a slate of events that kick off with \u003ca href=\"https://www.ticketmaster.com/event/1C0060D2D2D52EE7\">Hip-Hop Made the Bay\u003c/a>, a celebration of the old school at the SAP Center in San José. Local legends Too Short and RBL Posse will join Bone Thugs-N-Harmony, Ja Rule, Xzibit, DJ Quik, Baby Bash, Tha Dogg Pound and Lighter Shade of Brown.\u003c/p>\n\u003cp>“San Francisco’s always been at the forefront of breaking ground for a lot of new artists,” says Alex Aquino, who co-organized SF Hip-Hop Month with Kamel Jacot-Bell. Aquino points to the local radio station KPOO, which was one of the first to create a hip-hop show in the early ’80s.\u003c/p>\n\u003cp>“I think all these artists that are on those big shows have some San Francisco story of how we embraced them,” he adds.\u003c/p>\n\u003cp>As part of the festivities, Erykah Badu, whose Bay Area concerts always draw an intergenerational crowd in creative outfits, plays \u003ca href=\"https://www.ticketmaster.com/erykah-badu-san-francisco-california-11-16-2024/event/1C006108E7194ACE?\">Bill Graham Civic Auditorium on Nov. 16\u003c/a>. And San Francisco rapper Cellski — who started dancing as a b-boy and strutter as a kid in the ’80s — plays \u003ca href=\"https://sfhiphop.org/events2024/cellski-friends-the-midway-sf\">The Midway with Sacramento’s C-Bo and Oakland’s J Stalin on Nov. 15\u003c/a>. \u003ca href=\"https://www.ticketmaster.com/dave-chappelle-killer-mike-oakland-california-11-23-2024/event/1C006155196B36B2\">Dave Chappelle and Killer Mike\u003c/a> hit Oakland’s Paramount Theatre on Nov. 23, and Cream of Beat dance party arrives at San Francisco’s Great Northern on Nov. 28.\u003c/p>\n\u003cp>“He’s been a hip-hop pioneer since day one here,” says Aquino. “And so we just wanted to make sure that he gets his limelight.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Dance crews from around the globe will showcase their best moves at the 26th annual \u003ca href=\"https://www.sfhiphopdancefest.com/dancefest\">San Francisco International Hip-Hop Dance Fest\u003c/a> Nov. 9–10 at San Francisco’s Palace of Fine Arts. And in San José on Nov. 23, \u003ca href=\"https://www.eventbrite.com/e/style-elements-crew-30th-anniversary-celebration-tickets-1034572804107\">Style Elements Crew\u003c/a> celebrates their 30th anniversary with dance performances and battles.\u003c/p>\n\u003cp>San Francisco Hip-Hop Month also offers a handful of free events. There are two movie nights (\u003ca href=\"https://sfhiphop.org/events2024/blackscalemovienight\">Hype Williams’ crime thriller \u003ci>Belly\u003c/i>\u003c/a> on Nov. 8 at 1121 Polk St. and \u003ca href=\"https://sfhiphop.org/events2024/truemovienight\">Spike Lee’s 1989 comedy-drama \u003ci>Do the Right Thing\u003c/i>\u003c/a> on Nov. 22 at 1409 Haight St.). San Francisco’s Fulton Plaza, right outside of Civic Center BART, will host a \u003ca href=\"https://sfhiphop.org/events2024/all-the-way-live-b-boy-turntablism-showcase-fulton-plaza-sf\">turntablism showcase on Nov. 9\u003c/a>. And SF Hip-Hop Month wraps up on Nov. 29 with a look into the future: a hip-hop and AI panel with an undisclosed lineup of industry experts at The Midway.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Visit \u003ca href=\"https://www.instagram.com/sf.hiphop/\">SF Hip-Hop on Instagram\u003c/a> for the latest schedule and updates.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>November is Hip-Hop History Month — Congress officially designated it last year — and the Bay Area is celebrating how we dance a little different. Starting Nov. 1, the organization \u003ca href=\"https://url.us.m.mimecastprotect.com/s/nfIqCrkYKnfnW234h7fxF4nfhf?domain=sfhiphop.org\">SF Hip-Hop\u003c/a> is rolling out a slate of events that kick off with \u003ca href=\"https://www.ticketmaster.com/event/1C0060D2D2D52EE7\">Hip-Hop Made the Bay\u003c/a>, a celebration of the old school at the SAP Center in San José. Local legends Too Short and RBL Posse will join Bone Thugs-N-Harmony, Ja Rule, Xzibit, DJ Quik, Baby Bash, Tha Dogg Pound and Lighter Shade of Brown.\u003c/p>\n\u003cp>“San Francisco’s always been at the forefront of breaking ground for a lot of new artists,” says Alex Aquino, who co-organized SF Hip-Hop Month with Kamel Jacot-Bell. Aquino points to the local radio station KPOO, which was one of the first to create a hip-hop show in the early ’80s.\u003c/p>\n\u003cp>“I think all these artists that are on those big shows have some San Francisco story of how we embraced them,” he adds.\u003c/p>\n\u003cp>As part of the festivities, Erykah Badu, whose Bay Area concerts always draw an intergenerational crowd in creative outfits, plays \u003ca href=\"https://www.ticketmaster.com/erykah-badu-san-francisco-california-11-16-2024/event/1C006108E7194ACE?\">Bill Graham Civic Auditorium on Nov. 16\u003c/a>. And San Francisco rapper Cellski — who started dancing as a b-boy and strutter as a kid in the ’80s — plays \u003ca href=\"https://sfhiphop.org/events2024/cellski-friends-the-midway-sf\">The Midway with Sacramento’s C-Bo and Oakland’s J Stalin on Nov. 15\u003c/a>. \u003ca href=\"https://www.ticketmaster.com/dave-chappelle-killer-mike-oakland-california-11-23-2024/event/1C006155196B36B2\">Dave Chappelle and Killer Mike\u003c/a> hit Oakland’s Paramount Theatre on Nov. 23, and Cream of Beat dance party arrives at San Francisco’s Great Northern on Nov. 28.\u003c/p>\n\u003cp>“He’s been a hip-hop pioneer since day one here,” says Aquino. “And so we just wanted to make sure that he gets his limelight.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Dance crews from around the globe will showcase their best moves at the 26th annual \u003ca href=\"https://www.sfhiphopdancefest.com/dancefest\">San Francisco International Hip-Hop Dance Fest\u003c/a> Nov. 9–10 at San Francisco’s Palace of Fine Arts. And in San José on Nov. 23, \u003ca href=\"https://www.eventbrite.com/e/style-elements-crew-30th-anniversary-celebration-tickets-1034572804107\">Style Elements Crew\u003c/a> celebrates their 30th anniversary with dance performances and battles.\u003c/p>\n\u003cp>San Francisco Hip-Hop Month also offers a handful of free events. There are two movie nights (\u003ca href=\"https://sfhiphop.org/events2024/blackscalemovienight\">Hype Williams’ crime thriller \u003ci>Belly\u003c/i>\u003c/a> on Nov. 8 at 1121 Polk St. and \u003ca href=\"https://sfhiphop.org/events2024/truemovienight\">Spike Lee’s 1989 comedy-drama \u003ci>Do the Right Thing\u003c/i>\u003c/a> on Nov. 22 at 1409 Haight St.). San Francisco’s Fulton Plaza, right outside of Civic Center BART, will host a \u003ca href=\"https://sfhiphop.org/events2024/all-the-way-live-b-boy-turntablism-showcase-fulton-plaza-sf\">turntablism showcase on Nov. 9\u003c/a>. And SF Hip-Hop Month wraps up on Nov. 29 with a look into the future: a hip-hop and AI panel with an undisclosed lineup of industry experts at The Midway.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Visit \u003ca href=\"https://www.instagram.com/sf.hiphop/\">SF Hip-Hop on Instagram\u003c/a> for the latest schedule and updates.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "A World-Premiere Oratorio for a Anti-Slavery Abolitionist",
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"content": "\u003cp>A few years ago, the pianist and composer Allison Lovejoy was looking into her family history when a name of a distant relative caught her attention.\u003c/p>\n\u003cp>Elijah Parish Lovejoy, born in 1802 to a deeply spiritual family, was a newspaper editor and devout abolitionist. Decades before the Civil War, Lovejoy received what he referred to as a calling from God to fight for an end to slavery.\u003c/p>\n\u003cp>In Missouri, Lovejoy was warned to stop printing and distributing his anti-slavery materials, and his printing presses were destroyed multiple times. Lovejoy kept replacing them, and continued his work until a pro-slavery mob murdered him in 1837. \u003c/p>\n\u003cp>Allison Lovejoy shared her findings with longtime friend and former San Francisco Poet Laureate Jack Hirschman. Hirschman recognized the Lovejoy name, and asked if she knew about Elijah’s legacy.\u003c/p>\n\u003cp>“I said Jack, yes, I was just reading about him the other night,” Lovejoy tells me today. “I was thinking of writing an opera.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This week, Lovejoy is in rehearsals with the with the Golden Gate Symphony Orchestra and Chorus to premiere her oratorio dedicated to Lovejoy, \u003cem>Elijah’s Call\u003c/em>, on Sunday, Nov. 3 at the Palace of Fine Arts in San Francisco. It’s the culmination of years of work, sparked by a single family discovery, and a desire to honor a fearless ancestor.\u003c/p>\n\u003cfigure id=\"attachment_13967445\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Allison-Lovejoy_Composer_Elijahs-Call_2024_usedforPressRelease.jpg\" alt=\"\" width=\"2000\" height=\"2015\" class=\"size-full wp-image-13967445\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Allison-Lovejoy_Composer_Elijahs-Call_2024_usedforPressRelease.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Allison-Lovejoy_Composer_Elijahs-Call_2024_usedforPressRelease-800x806.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Allison-Lovejoy_Composer_Elijahs-Call_2024_usedforPressRelease-1020x1028.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Allison-Lovejoy_Composer_Elijahs-Call_2024_usedforPressRelease-160x161.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Allison-Lovejoy_Composer_Elijahs-Call_2024_usedforPressRelease-768x774.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Allison-Lovejoy_Composer_Elijahs-Call_2024_usedforPressRelease-1525x1536.jpg 1525w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Allison-Lovejoy_Composer_Elijahs-Call_2024_usedforPressRelease-1920x1934.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Allison Lovejoy. \u003ccite>(Artist Photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>An Internal Conflict\u003c/h2>\n\u003cp>Elijah Lovejoy’s mother taught her children to read the Bible. But in early adulthood, Elijah felt lost, waiting for God to show him his life’s calling. Restless, he set out on an incredible journey on foot, walking from his hometown in Maine to what was then the edge of the country: St. Louis, Missouri.\u003c/p>\n\u003cp>It was this internal conflict, Lovejoy says, that would become the starting point for Lovejoy’s work. \u003c/p>\n\u003cp>Needing a librettist, Lovejoy brought in San Francisco writer and historian Gary Kamiya. Together, the two dove head-first into Elijah Lovejoy’s life and career. Kamiya helped select the most significant events of Lovejoy’s life to include; he also wrote lyrics, using Elijah Lovejoy’s words as a guide. \u003c/p>\n\u003cp>“We interpolated quite a few of Elijah Lovejoy’s own writings, as well as statements made by his enemies — political defenders of slavery,” Kamiya tells me. He studied books for added context, as well as family histories written by other relatives.\u003c/p>\n\u003cp>“[There was] a book written by his brothers, Joseph and Owen Lovejoy, called Memoir of the Reverend Elijah P. Lovejoy that has a lot of lengthy quotations, including poems that he wrote,” Kamiya says. \u003c/p>\n\u003cp>Allison Lovejoy, meanwhile, researched the language of the time to better understand Elijah Lovejoy’s rhetoric, and its influences from the era’s church preachers. She also read up on music of the 1820s. “I didn’t want to write in that style,” she says, “but I wanted to understand that sound.” \u003c/p>\n\u003cp>Ultimately, Lovejoy felt that an oratorio, not an opera or a cantata, would best tell Elijah Lovejoy’s story. She was worried, though.\u003c/p>\n\u003cp>“Oratorios sound scary because it sounds very biblical, very intimidating, like Handel’s \u003cem>Messiah\u003c/em>,” she says. “And I said, well then, I can’t call it ‘Elijah.’”\u003c/p>\n\u003cp>She kept thinking about Lovejoy on his long trek to St. Louis, waiting for his life’s calling, and about the moment he’d found that calling in abolition work. The oratorio’s title came to her: \u003cem>Elijah’s Call\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13967443\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Gary-and-Allison-phto-by-Kate-Stilley-Steiner.jpg\" alt=\"\" width=\"2000\" height=\"1500\" class=\"size-full wp-image-13967443\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Gary-and-Allison-phto-by-Kate-Stilley-Steiner.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Gary-and-Allison-phto-by-Kate-Stilley-Steiner-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Gary-and-Allison-phto-by-Kate-Stilley-Steiner-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Gary-and-Allison-phto-by-Kate-Stilley-Steiner-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Gary-and-Allison-phto-by-Kate-Stilley-Steiner-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Gary-and-Allison-phto-by-Kate-Stilley-Steiner-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Gary-and-Allison-phto-by-Kate-Stilley-Steiner-1920x1440.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Gary Kamiya and Allison Lovejoy in rehearsal for ‘Elijah’s Call.’ \u003ccite>(Kate Stilley Steiner)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A Life Cut Short By a Violent Mob\u003c/h2>\n\u003cp>“The whole thing about ‘the call’ is someone walking, step, step,” Lovejoy says. “A tired person, walking with this constant motor with this ostinato rhythm underneath, so you have a feeling of movement, but then you also have the voices of the chorus like a Greek choir, calling his conscience. ‘What are you going to do? Where are you going?’ And they give him the courage to move forward.” \u003c/p>\n\u003cp>Courage was certainly a necessity for an abolitionist in the slave state of Missouri. As the editor of the \u003cem>St. Louis Observer\u003c/em> in the early to mid-1830s, Elijah Lovejoy published editorials that began as anti-slavery pieces, but over time grew more radical, eventually calling for universal emancipation.\u003c/p>\n\u003cp>As his writings spread, Lovejoy’s enemies grew larger in rank, destroying his presses. Eventually Lovejoy left Missouri for the free state of Illinois and his family’s safety. \u003c/p>\n\u003cp>Settling across the Mississippi River in the town of Alton, Lovejoy ordered a new printing press to begin his work again. When it arrived in 1837, a violent mob formed and stormed the warehouse where the printing press was stored. While trying to stop the mob, Lovejoy was shot and killed. \u003c/p>\n\u003cp>Reviewing the tragic events of Lovejoy’s life and death, Allison Lovejoy thought long and hard on how to best evoke emotion through the oratorio. Lovejoy’s choices of tempo and key are one piece of it.\u003c/p>\n\u003cp>“But in addition to that, it’s dynamic layering and buildup,” she says. To that end, Lovejoy opted to tap a variety of influences for \u003cem>Elijah’s Call\u003c/em>, including Black gospel music. \u003c/p>\n\u003cfigure id=\"attachment_13967430\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/ratio3x2_1920_.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13967430\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/ratio3x2_1920_.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/ratio3x2_1920_-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/ratio3x2_1920_-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/ratio3x2_1920_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/ratio3x2_1920_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/ratio3x2_1920_-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/ratio3x2_1920_-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Walter Riley. \u003ccite>(Courtesy photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Civil Rights Attorney Joins\u003c/h2>\n\u003cp>Lovejoy’s initial dive into her family history began around 2020, when George Floyd was murdered. Lovejoy saw parallels between Elijah Lovejoy and Floyd — how their murders are part of a larger, intersectional fight for justice and safekeeping of Black lives and those who advocate for them.\u003c/p>\n\u003cp>In choosing the narrator of \u003cem>Elijah’s Call\u003c/em>, then, Lovejoy found a perfect fit in Oakland-based civil rights activist and lawyer Walter Riley. The father of musician and filmmaker Boots Riley and a longtime friend of Lovejoy, Riley was immediately drawn to Elijah Lovejoy’s story. \u003c/p>\n\u003cp>“The idea of fighting slavery … and the history of those folks who were building a movement resonates with me,” he says. “It’s the kind of work I do now: civil rights activism, social justice issues.”\u003c/p>\n\u003cp>When I ask Lovejoy what it’s like working with Riley, she smiles warmly. “It’s wonderful,” she says. “I’ve always admired his insights. His wisdom brings something to the piece that elevates it.” \u003c/p>\n\u003cfigure id=\"attachment_13967446\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Walter-Urs-Allison-and-Mike-_photo-by-Kate-Stilley-Steiner.jpg\" alt=\"\" width=\"2000\" height=\"1500\" class=\"size-full wp-image-13967446\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Walter-Urs-Allison-and-Mike-_photo-by-Kate-Stilley-Steiner.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Walter-Urs-Allison-and-Mike-_photo-by-Kate-Stilley-Steiner-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Walter-Urs-Allison-and-Mike-_photo-by-Kate-Stilley-Steiner-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Walter-Urs-Allison-and-Mike-_photo-by-Kate-Stilley-Steiner-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Walter-Urs-Allison-and-Mike-_photo-by-Kate-Stilley-Steiner-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Walter-Urs-Allison-and-Mike-_photo-by-Kate-Stilley-Steiner-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Walter-Urs-Allison-and-Mike-_photo-by-Kate-Stilley-Steiner-1920x1440.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">(L–R, from behind) Walter Riley, Urs Leonhardt Steiner, Michael Desnoyers, Gary Kamiya and Allison Lovejoy in rehearsal with members of the Golden Gate Symphony Orchestra and Chorus for ‘Elijah’s Call.’ \u003ccite>(Kate Stilley Steiner)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Connecting the Past to the Present\u003c/h2>\n\u003cp>Elijah Lovejoy may not be widely known today, but Lovejoy hopes the oratorio will help change that. For both Lovejoy and Riley, Elijah Lovejoy’s story is directly connected to modern social movements, present-day civil rights efforts, and the language thereof. The phrase “I lit a lamp,” for example, which appears more than once in the oratorio, holds multiple meanings. \u003c/p>\n\u003cp>“I didn’t know that that [phrase] was a symbolic line — the lighting of the lamp of the Underground Railroad,” Lovejoy says. “I use that throughout the oratorio to say, light your lamp, keep it shining.” \u003c/p>\n\u003cp>For Riley, the connection between Elijah Lovejoy and today’s fight for racial justice was instantaneous.\u003c/p>\n\u003cp>“It’s the exact kind of story we see today,” he tells me. “It’s part of the struggle we face. And every time we see an example from history from… the folks who came before us, it’s useful to pay attention to that, and celebrate that, and then maybe we become a more…enlightened society.” He points a finger as he speaks. “That’s what Elijah learned in this story. He learned about and accepted the humanity of these Black folks…but they attacked him and killed him for it.” \u003c/p>\n\u003cp>Before Lovejoy has to head back into dress rehearsal for the oratorio, I ask what she hopes audiences will take away from \u003cem>Elijah’s Call\u003c/em>.\u003c/p>\n\u003cp>“Mainly,” she says, “Inspiration to do the right thing, and inspiration to stand together.” \u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘Elijah’s Call’ premieres Sunday, Nov. 3, at the Palace of Fine Arts Theatre in San Francisco. Details here. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A few years ago, the pianist and composer Allison Lovejoy was looking into her family history when a name of a distant relative caught her attention.\u003c/p>\n\u003cp>Elijah Parish Lovejoy, born in 1802 to a deeply spiritual family, was a newspaper editor and devout abolitionist. Decades before the Civil War, Lovejoy received what he referred to as a calling from God to fight for an end to slavery.\u003c/p>\n\u003cp>In Missouri, Lovejoy was warned to stop printing and distributing his anti-slavery materials, and his printing presses were destroyed multiple times. Lovejoy kept replacing them, and continued his work until a pro-slavery mob murdered him in 1837. \u003c/p>\n\u003cp>Allison Lovejoy shared her findings with longtime friend and former San Francisco Poet Laureate Jack Hirschman. Hirschman recognized the Lovejoy name, and asked if she knew about Elijah’s legacy.\u003c/p>\n\u003cp>“I said Jack, yes, I was just reading about him the other night,” Lovejoy tells me today. “I was thinking of writing an opera.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This week, Lovejoy is in rehearsals with the with the Golden Gate Symphony Orchestra and Chorus to premiere her oratorio dedicated to Lovejoy, \u003cem>Elijah’s Call\u003c/em>, on Sunday, Nov. 3 at the Palace of Fine Arts in San Francisco. It’s the culmination of years of work, sparked by a single family discovery, and a desire to honor a fearless ancestor.\u003c/p>\n\u003cfigure id=\"attachment_13967445\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Allison-Lovejoy_Composer_Elijahs-Call_2024_usedforPressRelease.jpg\" alt=\"\" width=\"2000\" height=\"2015\" class=\"size-full wp-image-13967445\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Allison-Lovejoy_Composer_Elijahs-Call_2024_usedforPressRelease.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Allison-Lovejoy_Composer_Elijahs-Call_2024_usedforPressRelease-800x806.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Allison-Lovejoy_Composer_Elijahs-Call_2024_usedforPressRelease-1020x1028.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Allison-Lovejoy_Composer_Elijahs-Call_2024_usedforPressRelease-160x161.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Allison-Lovejoy_Composer_Elijahs-Call_2024_usedforPressRelease-768x774.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Allison-Lovejoy_Composer_Elijahs-Call_2024_usedforPressRelease-1525x1536.jpg 1525w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Allison-Lovejoy_Composer_Elijahs-Call_2024_usedforPressRelease-1920x1934.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Allison Lovejoy. \u003ccite>(Artist Photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>An Internal Conflict\u003c/h2>\n\u003cp>Elijah Lovejoy’s mother taught her children to read the Bible. But in early adulthood, Elijah felt lost, waiting for God to show him his life’s calling. Restless, he set out on an incredible journey on foot, walking from his hometown in Maine to what was then the edge of the country: St. Louis, Missouri.\u003c/p>\n\u003cp>It was this internal conflict, Lovejoy says, that would become the starting point for Lovejoy’s work. \u003c/p>\n\u003cp>Needing a librettist, Lovejoy brought in San Francisco writer and historian Gary Kamiya. Together, the two dove head-first into Elijah Lovejoy’s life and career. Kamiya helped select the most significant events of Lovejoy’s life to include; he also wrote lyrics, using Elijah Lovejoy’s words as a guide. \u003c/p>\n\u003cp>“We interpolated quite a few of Elijah Lovejoy’s own writings, as well as statements made by his enemies — political defenders of slavery,” Kamiya tells me. He studied books for added context, as well as family histories written by other relatives.\u003c/p>\n\u003cp>“[There was] a book written by his brothers, Joseph and Owen Lovejoy, called Memoir of the Reverend Elijah P. Lovejoy that has a lot of lengthy quotations, including poems that he wrote,” Kamiya says. \u003c/p>\n\u003cp>Allison Lovejoy, meanwhile, researched the language of the time to better understand Elijah Lovejoy’s rhetoric, and its influences from the era’s church preachers. She also read up on music of the 1820s. “I didn’t want to write in that style,” she says, “but I wanted to understand that sound.” \u003c/p>\n\u003cp>Ultimately, Lovejoy felt that an oratorio, not an opera or a cantata, would best tell Elijah Lovejoy’s story. She was worried, though.\u003c/p>\n\u003cp>“Oratorios sound scary because it sounds very biblical, very intimidating, like Handel’s \u003cem>Messiah\u003c/em>,” she says. “And I said, well then, I can’t call it ‘Elijah.’”\u003c/p>\n\u003cp>She kept thinking about Lovejoy on his long trek to St. Louis, waiting for his life’s calling, and about the moment he’d found that calling in abolition work. The oratorio’s title came to her: \u003cem>Elijah’s Call\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13967443\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Gary-and-Allison-phto-by-Kate-Stilley-Steiner.jpg\" alt=\"\" width=\"2000\" height=\"1500\" class=\"size-full wp-image-13967443\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Gary-and-Allison-phto-by-Kate-Stilley-Steiner.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Gary-and-Allison-phto-by-Kate-Stilley-Steiner-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Gary-and-Allison-phto-by-Kate-Stilley-Steiner-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Gary-and-Allison-phto-by-Kate-Stilley-Steiner-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Gary-and-Allison-phto-by-Kate-Stilley-Steiner-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Gary-and-Allison-phto-by-Kate-Stilley-Steiner-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Gary-and-Allison-phto-by-Kate-Stilley-Steiner-1920x1440.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Gary Kamiya and Allison Lovejoy in rehearsal for ‘Elijah’s Call.’ \u003ccite>(Kate Stilley Steiner)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A Life Cut Short By a Violent Mob\u003c/h2>\n\u003cp>“The whole thing about ‘the call’ is someone walking, step, step,” Lovejoy says. “A tired person, walking with this constant motor with this ostinato rhythm underneath, so you have a feeling of movement, but then you also have the voices of the chorus like a Greek choir, calling his conscience. ‘What are you going to do? Where are you going?’ And they give him the courage to move forward.” \u003c/p>\n\u003cp>Courage was certainly a necessity for an abolitionist in the slave state of Missouri. As the editor of the \u003cem>St. Louis Observer\u003c/em> in the early to mid-1830s, Elijah Lovejoy published editorials that began as anti-slavery pieces, but over time grew more radical, eventually calling for universal emancipation.\u003c/p>\n\u003cp>As his writings spread, Lovejoy’s enemies grew larger in rank, destroying his presses. Eventually Lovejoy left Missouri for the free state of Illinois and his family’s safety. \u003c/p>\n\u003cp>Settling across the Mississippi River in the town of Alton, Lovejoy ordered a new printing press to begin his work again. When it arrived in 1837, a violent mob formed and stormed the warehouse where the printing press was stored. While trying to stop the mob, Lovejoy was shot and killed. \u003c/p>\n\u003cp>Reviewing the tragic events of Lovejoy’s life and death, Allison Lovejoy thought long and hard on how to best evoke emotion through the oratorio. Lovejoy’s choices of tempo and key are one piece of it.\u003c/p>\n\u003cp>“But in addition to that, it’s dynamic layering and buildup,” she says. To that end, Lovejoy opted to tap a variety of influences for \u003cem>Elijah’s Call\u003c/em>, including Black gospel music. \u003c/p>\n\u003cfigure id=\"attachment_13967430\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/ratio3x2_1920_.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13967430\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/ratio3x2_1920_.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/ratio3x2_1920_-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/ratio3x2_1920_-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/ratio3x2_1920_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/ratio3x2_1920_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/ratio3x2_1920_-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/ratio3x2_1920_-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Walter Riley. \u003ccite>(Courtesy photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Civil Rights Attorney Joins\u003c/h2>\n\u003cp>Lovejoy’s initial dive into her family history began around 2020, when George Floyd was murdered. Lovejoy saw parallels between Elijah Lovejoy and Floyd — how their murders are part of a larger, intersectional fight for justice and safekeeping of Black lives and those who advocate for them.\u003c/p>\n\u003cp>In choosing the narrator of \u003cem>Elijah’s Call\u003c/em>, then, Lovejoy found a perfect fit in Oakland-based civil rights activist and lawyer Walter Riley. The father of musician and filmmaker Boots Riley and a longtime friend of Lovejoy, Riley was immediately drawn to Elijah Lovejoy’s story. \u003c/p>\n\u003cp>“The idea of fighting slavery … and the history of those folks who were building a movement resonates with me,” he says. “It’s the kind of work I do now: civil rights activism, social justice issues.”\u003c/p>\n\u003cp>When I ask Lovejoy what it’s like working with Riley, she smiles warmly. “It’s wonderful,” she says. “I’ve always admired his insights. His wisdom brings something to the piece that elevates it.” \u003c/p>\n\u003cfigure id=\"attachment_13967446\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Walter-Urs-Allison-and-Mike-_photo-by-Kate-Stilley-Steiner.jpg\" alt=\"\" width=\"2000\" height=\"1500\" class=\"size-full wp-image-13967446\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Walter-Urs-Allison-and-Mike-_photo-by-Kate-Stilley-Steiner.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Walter-Urs-Allison-and-Mike-_photo-by-Kate-Stilley-Steiner-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Walter-Urs-Allison-and-Mike-_photo-by-Kate-Stilley-Steiner-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Walter-Urs-Allison-and-Mike-_photo-by-Kate-Stilley-Steiner-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Walter-Urs-Allison-and-Mike-_photo-by-Kate-Stilley-Steiner-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Walter-Urs-Allison-and-Mike-_photo-by-Kate-Stilley-Steiner-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Walter-Urs-Allison-and-Mike-_photo-by-Kate-Stilley-Steiner-1920x1440.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">(L–R, from behind) Walter Riley, Urs Leonhardt Steiner, Michael Desnoyers, Gary Kamiya and Allison Lovejoy in rehearsal with members of the Golden Gate Symphony Orchestra and Chorus for ‘Elijah’s Call.’ \u003ccite>(Kate Stilley Steiner)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Connecting the Past to the Present\u003c/h2>\n\u003cp>Elijah Lovejoy may not be widely known today, but Lovejoy hopes the oratorio will help change that. For both Lovejoy and Riley, Elijah Lovejoy’s story is directly connected to modern social movements, present-day civil rights efforts, and the language thereof. The phrase “I lit a lamp,” for example, which appears more than once in the oratorio, holds multiple meanings. \u003c/p>\n\u003cp>“I didn’t know that that [phrase] was a symbolic line — the lighting of the lamp of the Underground Railroad,” Lovejoy says. “I use that throughout the oratorio to say, light your lamp, keep it shining.” \u003c/p>\n\u003cp>For Riley, the connection between Elijah Lovejoy and today’s fight for racial justice was instantaneous.\u003c/p>\n\u003cp>“It’s the exact kind of story we see today,” he tells me. “It’s part of the struggle we face. And every time we see an example from history from… the folks who came before us, it’s useful to pay attention to that, and celebrate that, and then maybe we become a more…enlightened society.” He points a finger as he speaks. “That’s what Elijah learned in this story. He learned about and accepted the humanity of these Black folks…but they attacked him and killed him for it.” \u003c/p>\n\u003cp>Before Lovejoy has to head back into dress rehearsal for the oratorio, I ask what she hopes audiences will take away from \u003cem>Elijah’s Call\u003c/em>.\u003c/p>\n\u003cp>“Mainly,” she says, “Inspiration to do the right thing, and inspiration to stand together.” \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>‘Elijah’s Call’ premieres Sunday, Nov. 3, at the Palace of Fine Arts Theatre in San Francisco. Details here. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Phil Lesh, bassist and founding member of countercultural rock band The Grateful Dead, has died. He was 84 years old. His family posted the news on Lesh’s official \u003ca href=\"https://www.instagram.com/p/DBjvWcHPbQB/?hl=en\">Instagram page\u003c/a>.\u003c/p>\n\u003cp>Born in Berkeley, Calif., in 1940, Lesh was initially drawn to classical music. He played violin as a child before turning his attention to the trumpet, which he studied throughout high school and his time at the College of San Mateo. In the early ’60s, he met banjo player Jerry Garcia, who later asked him to join his rock band, The Warlocks, as their bassist — an instrument Lesh did not play. He accepted nonetheless, and in 1965, The Grateful Dead was born, with Lesh finding his footing in the improvisation-driven group as he went.[aside postID='arts_13853019']\u003c/p>\n\u003cp>“On a day-to-day basis, the psychic pivot to the Dead is Phil Lesh, the most aggressive purist, the anti-philistine Artist,” wrote Grateful Dead biographer Dennis McNally in his 2002 book \u003cem>A Long Strange Trip: The Inside History of the Grateful Dead.\u003c/em> “It is he who most often and most loudly demands that they dance as closely as possible to the edge of the nearest available precipice. Intellectual, kinetic, intense, he was once nicknamed Reddy Kilowatt in recognition of his high mental and physical velocity.”\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" class=\"aligncenter\" src=\"https://npr.brightspotcdn.com/dims3/default/strip/false/crop/5541x3704+0+0/resize/1200/quality/75/format/jpeg/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2F90%2F1c%2Fa76b7c8347c3a75954f9bb2305cc%2Fgettyimages-1061690214.jpg\" alt=\"The Grateful Dead bassist Phil Lesh (right), playing with drummer Bill Kreutzmann and lead singer Jerry Garcia in 1970.\">\u003cfigcaption>The Grateful Dead bassist Phil Lesh (right), playing with drummer Bill Kreutzmann and lead singer Jerry Garcia in 1970. \u003ccite> (Michael Ochs Archives/Getty Images | Hulton Archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Over the Dead’s decades of musical longevity and reinvention, Lesh went on to sing lead vocals on some of the band’s most memorable songs, including “Box of Rain” off the 1970 album \u003cem>American Beauty\u003c/em>, which he composed alongside longtime Dead lyricist Robert Hunter, and “Unbroken Chain” off 1974’s \u003cem>From the Mars Hotel.\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=nxjvo4BRf-Y\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>After Garcia’s death in 1995, Lesh reunited with fellow band members Bob Weir and Mickey Hart and keyboardist Bruce Hornsby to tour as The Other Ones, and later, The Dead. He also released albums with his own group, Phil Lesh and Friends, and for a decade operated a popular venue called Terrapin Crossroads in San Rafael. There, Lesh often performed alongside his sons, Grahame and Brian. Though \u003ca href=\"https://datebook.sfchronicle.com/music/grateful-dead-bassists-former-marin-music-venue-listed-for-5-million\">Terrapin closed in 2021\u003c/a>, the Lesh family continued to champion live music in Northern California, most recently organizing a festival called Sunday Daydream, which Lesh headlined this past summer.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I would have to say that music and performing are as essential as food and drink to me, but even more so as I get older,” Lesh told \u003cem>The Marin Independent Journal\u003c/em> in June. “While it can sometimes be more of a challenge physically than it was when I was a young whippersnapper, I’ve found that age brings wisdom, and with that comes musical experience and knowledge that I didn’t have when I was younger.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“On a day-to-day basis, the psychic pivot to the Dead is Phil Lesh, the most aggressive purist, the anti-philistine Artist,” wrote Grateful Dead biographer Dennis McNally in his 2002 book \u003cem>A Long Strange Trip: The Inside History of the Grateful Dead.\u003c/em> “It is he who most often and most loudly demands that they dance as closely as possible to the edge of the nearest available precipice. Intellectual, kinetic, intense, he was once nicknamed Reddy Kilowatt in recognition of his high mental and physical velocity.”\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" class=\"aligncenter\" src=\"https://npr.brightspotcdn.com/dims3/default/strip/false/crop/5541x3704+0+0/resize/1200/quality/75/format/jpeg/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2F90%2F1c%2Fa76b7c8347c3a75954f9bb2305cc%2Fgettyimages-1061690214.jpg\" alt=\"The Grateful Dead bassist Phil Lesh (right), playing with drummer Bill Kreutzmann and lead singer Jerry Garcia in 1970.\">\u003cfigcaption>The Grateful Dead bassist Phil Lesh (right), playing with drummer Bill Kreutzmann and lead singer Jerry Garcia in 1970. \u003ccite> (Michael Ochs Archives/Getty Images | Hulton Archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Over the Dead’s decades of musical longevity and reinvention, Lesh went on to sing lead vocals on some of the band’s most memorable songs, including “Box of Rain” off the 1970 album \u003cem>American Beauty\u003c/em>, which he composed alongside longtime Dead lyricist Robert Hunter, and “Unbroken Chain” off 1974’s \u003cem>From the Mars Hotel.\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/nxjvo4BRf-Y'\n title='//www.youtube.com/embed/nxjvo4BRf-Y'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>After Garcia’s death in 1995, Lesh reunited with fellow band members Bob Weir and Mickey Hart and keyboardist Bruce Hornsby to tour as The Other Ones, and later, The Dead. He also released albums with his own group, Phil Lesh and Friends, and for a decade operated a popular venue called Terrapin Crossroads in San Rafael. There, Lesh often performed alongside his sons, Grahame and Brian. Though \u003ca href=\"https://datebook.sfchronicle.com/music/grateful-dead-bassists-former-marin-music-venue-listed-for-5-million\">Terrapin closed in 2021\u003c/a>, the Lesh family continued to champion live music in Northern California, most recently organizing a festival called Sunday Daydream, which Lesh headlined this past summer.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I would have to say that music and performing are as essential as food and drink to me, but even more so as I get older,” Lesh told \u003cem>The Marin Independent Journal\u003c/em> in June. “While it can sometimes be more of a challenge physically than it was when I was a young whippersnapper, I’ve found that age brings wisdom, and with that comes musical experience and knowledge that I didn’t have when I was younger.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘Tristan and Isolde’ at SF Opera: An Epic of Love, Death and Yearning",
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"content": "\u003cp>If you’ve never spent five hours at the opera for a story that would ordinarily take three minutes to tell, are you even living? Enter \u003cem>Tristan and Isolde\u003c/em>, Richard Wagner’s epic, tragic romance, with emphasis on epic — especially if you’re the couple who left the opera house last night at the three-hour mark, the wife muttering, “It’s just so \u003cem>long\u003c/em>.”\u003c/p>\n\u003cp>At San Francisco Opera through Nov. 5, \u003cem>Tristan and Isolde\u003c/em> is long, yes. (\u003ca href=\"https://slippedisc.com/2022/07/four-maestros-die-in-the-same-podium/\">Two conductors have died while conducting it\u003c/a>.) But like Wagner’s other great works, its effect is to warp time itself, stretching one’s mind and prying into the gaps. In \u003cem>Tristan\u003c/em>, what it shovels into those chasms is reams of love, death, and drama. Like a certain candidate’s campaign speeches, its characters ruminate endlessly: about passion, about mortality, about painful yearning, even though the one they yearn for is standing right there, next to them, also inexplicably yearning. \u003c/p>\n\u003cfigure id=\"attachment_13967237\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/tristan.dip_-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1896\" class=\"size-full wp-image-13967237\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/tristan.dip_-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/tristan.dip_-800x593.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/tristan.dip_-1020x756.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/tristan.dip_-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/tristan.dip_-768x569.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/tristan.dip_-1536x1138.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/tristan.dip_-2048x1517.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/tristan.dip_-1920x1422.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">At left, Annika Schlicht as Brangäne and Anja Kampe as Isolde; at right, Wolfgang Koch as Kurwenal and Simon O’Neill as Tristan. \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If you don’t understand the attraction of this sort of thing, perhaps you never listened to The Smiths, or smoked cloves while bewailing the cruelty of the world with your dour-faced companions. At last night’s performance, halfway through Simon O’Neill’s tour de force in the third act as the dying-in-slow-motion Tristan, I started to think of the 19th-century Wagnerians as the original goth kids, flocking to the Bauhaus concerts of their day. \u003cem>An ardent burning love drives me from the fearful bliss of death\u003c/em>, indeed. \u003c/p>\n\u003cp>In San Francisco, the set for this \u003cem>Tristan\u003c/em> is bare bones; a framed wall hued in blue light signifies a ship, and a lone pruned, silver-painted tree substitutes for a garden. One could say this draws more focus on the performances, and their lengthy monologues that sometimes feel like recital anyway. No single singer steals the show here — Anja Kampe’s Isolde matches O’Neill scene-for-scene, Annika Schlicht (Brangäne) and Wolfgang Koch (Kurwenal) are excellent as their BFFs, and Kwangchul Youn sings King Marke with a strong, regal authority.\u003c/p>\n\u003cfigure id=\"attachment_13967243\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/tristan.dip2_-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1896\" class=\"size-full wp-image-13967243\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/tristan.dip2_-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/tristan.dip2_-800x593.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/tristan.dip2_-1020x756.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/tristan.dip2_-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/tristan.dip2_-768x569.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/tristan.dip2_-1536x1138.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/tristan.dip2_-2048x1517.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/tristan.dip2_-1920x1422.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">At left, Kwangchul Youn as King Marke; at right, Annika Schlicht as Brangäne. \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the heart of it all is the music of Wagner, whose melodic approach and chord phrasings persist to this day; I hear them in Bernard Herrmann, McCoy Tyner and Radiohead. Kudos, then, to the orchestra. And can we take a moment to appreciate the gift San Francisco has in Eun Sun Kim at the podium? All the dynamism of the score comes alive under her baton, making it welcome news that she’s \u003ca href=\"https://www.sfopera.com/press/press-releases/ESK-contract-extension\">just signed a five-year extension\u003c/a>. (Fittingly, she’s also committed to doing a Wagner opera each season, including an upcoming \u003cem>Ring\u003c/em> cycle.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And perhaps it’s fine that some people skipped out early last night, like that tired couple I saw after Act II, leaving the diehards to their ritual. At \u003cem>Tristan and Isolde\u003c/em>’s end, as Kampe stood alone, illuminated on a dark stage, singing reverently of sweet breaths and swelling hearts, her crumpled lover at her feet, you could hear a pin drop.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Tristan and Isolde’ runs through Tuesday, Nov. 5, at the War Memorial Opera House in San Francisco. \u003ca href=\"https://www.sfopera.com/operas/tristan-and-isolde/\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you’ve never spent five hours at the opera for a story that would ordinarily take three minutes to tell, are you even living? Enter \u003cem>Tristan and Isolde\u003c/em>, Richard Wagner’s epic, tragic romance, with emphasis on epic — especially if you’re the couple who left the opera house last night at the three-hour mark, the wife muttering, “It’s just so \u003cem>long\u003c/em>.”\u003c/p>\n\u003cp>At San Francisco Opera through Nov. 5, \u003cem>Tristan and Isolde\u003c/em> is long, yes. (\u003ca href=\"https://slippedisc.com/2022/07/four-maestros-die-in-the-same-podium/\">Two conductors have died while conducting it\u003c/a>.) But like Wagner’s other great works, its effect is to warp time itself, stretching one’s mind and prying into the gaps. In \u003cem>Tristan\u003c/em>, what it shovels into those chasms is reams of love, death, and drama. Like a certain candidate’s campaign speeches, its characters ruminate endlessly: about passion, about mortality, about painful yearning, even though the one they yearn for is standing right there, next to them, also inexplicably yearning. \u003c/p>\n\u003cfigure id=\"attachment_13967237\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/tristan.dip_-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1896\" class=\"size-full wp-image-13967237\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/tristan.dip_-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/tristan.dip_-800x593.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/tristan.dip_-1020x756.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/tristan.dip_-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/tristan.dip_-768x569.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/tristan.dip_-1536x1138.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/tristan.dip_-2048x1517.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/tristan.dip_-1920x1422.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">At left, Annika Schlicht as Brangäne and Anja Kampe as Isolde; at right, Wolfgang Koch as Kurwenal and Simon O’Neill as Tristan. \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If you don’t understand the attraction of this sort of thing, perhaps you never listened to The Smiths, or smoked cloves while bewailing the cruelty of the world with your dour-faced companions. At last night’s performance, halfway through Simon O’Neill’s tour de force in the third act as the dying-in-slow-motion Tristan, I started to think of the 19th-century Wagnerians as the original goth kids, flocking to the Bauhaus concerts of their day. \u003cem>An ardent burning love drives me from the fearful bliss of death\u003c/em>, indeed. \u003c/p>\n\u003cp>In San Francisco, the set for this \u003cem>Tristan\u003c/em> is bare bones; a framed wall hued in blue light signifies a ship, and a lone pruned, silver-painted tree substitutes for a garden. One could say this draws more focus on the performances, and their lengthy monologues that sometimes feel like recital anyway. No single singer steals the show here — Anja Kampe’s Isolde matches O’Neill scene-for-scene, Annika Schlicht (Brangäne) and Wolfgang Koch (Kurwenal) are excellent as their BFFs, and Kwangchul Youn sings King Marke with a strong, regal authority.\u003c/p>\n\u003cfigure id=\"attachment_13967243\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/tristan.dip2_-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1896\" class=\"size-full wp-image-13967243\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/tristan.dip2_-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/tristan.dip2_-800x593.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/tristan.dip2_-1020x756.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/tristan.dip2_-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/tristan.dip2_-768x569.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/tristan.dip2_-1536x1138.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/tristan.dip2_-2048x1517.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/tristan.dip2_-1920x1422.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">At left, Kwangchul Youn as King Marke; at right, Annika Schlicht as Brangäne. \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the heart of it all is the music of Wagner, whose melodic approach and chord phrasings persist to this day; I hear them in Bernard Herrmann, McCoy Tyner and Radiohead. Kudos, then, to the orchestra. And can we take a moment to appreciate the gift San Francisco has in Eun Sun Kim at the podium? All the dynamism of the score comes alive under her baton, making it welcome news that she’s \u003ca href=\"https://www.sfopera.com/press/press-releases/ESK-contract-extension\">just signed a five-year extension\u003c/a>. (Fittingly, she’s also committed to doing a Wagner opera each season, including an upcoming \u003cem>Ring\u003c/em> cycle.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And perhaps it’s fine that some people skipped out early last night, like that tired couple I saw after Act II, leaving the diehards to their ritual. At \u003cem>Tristan and Isolde\u003c/em>’s end, as Kampe stood alone, illuminated on a dark stage, singing reverently of sweet breaths and swelling hearts, her crumpled lover at her feet, you could hear a pin drop.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Tristan and Isolde’ runs through Tuesday, Nov. 5, at the War Memorial Opera House in San Francisco. \u003ca href=\"https://www.sfopera.com/operas/tristan-and-isolde/\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "charli-xcx-fans-election-2024-harris-trump",
"title": "Charli XCX Said ‘Kamala IS Brat.’ 3 Months On, Do Her Bay Area Fans Agree?",
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"headTitle": "Charli XCX Said ‘Kamala IS Brat.’ 3 Months On, Do Her Bay Area Fans Agree? | KQED",
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"content": "\u003cp>\u003ci>This story is part of the KQED series \u003c/i>\u003ca href=\"https://www.kqed.org/fandomvote\">\u003ci>The Fandom Vote\u003c/i>\u003c/a>\u003ci>, exploring the election-year concerns and voting preferences of pop culture fanbases.\u003c/i>\u003c/p>\n\u003cp>[dropcap]E[/dropcap]ven a die-hard Charli XCX fan transported from June 2024 straight to \u003ca href=\"https://www.kqed.org/arts/13966893/charli-xcx-troye-sivan-chase-center-san-francisco-review\">her sold-out San Francisco show last week\u003c/a> could be forgiven for being confused.\u003c/p>\n\u003cp>They wouldn’t be surprised by the stylish warehouse rave fits, of course, almost all of which paid homage to the visuals of \u003ca href=\"https://www.kqed.org/arts/13966893/charli-xcx-troye-sivan-chase-center-san-francisco-review\">Charli XCX’s hyperpop summer album \u003ci>brat\u003c/i>\u003c/a> in neon-matcha green. Or the excitement of the crowd, who packed out the Chase Center to watch the British artist perform alongside Troye Sivan for a night of electropop with deep roots in queer culture.\u003c/p>\n\u003cp>What they would likely \u003ci>not\u003c/i> be able to comprehend: the shirts saying, “\u003ca href=\"https://www.kqed.org/news/11997647/brat-kamala-harris-charli-xcx-coconut-tree-donald-trump\">you think you just fell out of a coconut tree?\u003c/a>” Or “make america brat again.” Or “demo(b)rat.”\u003c/p>\n\u003cfigure id=\"attachment_13967066\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-026-KQED.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967066\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-026-KQED.jpg\" alt=\"A person wearing sun glasses, a scarf wrapped around their head and a t-shirt with a neon green background raises their hands in front of a gate.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-026-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-026-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-026-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-026-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-026-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-026-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-026-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Manav Guruswami, 18, wears a Charli XCX-themed shirt with a quote from Vice President Kamala Harris while waiting to attend the Sweat Tour at Chase Center in San Francisco. Guruswami thinks the Harris Walz campaign’s use of ‘brat’ is an intelligent marketing campaign for the younger generation of voters. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The reason for this new presence in the Charli XCX fandom? On July 21, President Joe Biden \u003ca href=\"https://www.kqed.org/news/11996483/if-joe-biden-drops-out-kamala-harris-gavin-newsom-democratic-convention\">stepped down\u003c/a> as the Democratic presidential candidate and vice president — and the \u003ca href=\"https://www.kqed.org/news/11901099/remembering-the-rainbow-sign-the-short-but-powerful-reign-of-berkeleys-1970s-black-cultural-center\">Bay Area’s own\u003c/a> — Kamala Harris stepped forward. In the middle of the fever-pitch commentary that followed, the ever-online Charli XCX, riding high amid what had already been dubbed “brat summer,” still somehow managed to dominate the conversation with three words posted to X: “kamala IS brat.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://twitter.com/charli_xcx/status/1815182384066707861?lang=en\u003c/p>\n\u003cp>From this moment on, the Democratic party sought to leverage \u003ca href=\"https://www.billboard.com/music/music-news/taylor-swift-endorsement-harris-walz-friendship-bracelets-1235772337/\">the endorsement power of the pop girls\u003c/a>, like Charli, and \u003ca href=\"https://www.kqed.org/news/11997449/why-kamala-harris-is-having-a-brat-summer\">co-opt the memes\u003c/a> in pursuit of \u003ca href=\"https://wwd.com/pop-culture/celebrity-news/harriz-walz-camo-hat-1236536392/\">younger voters\u003c/a>.\u003c/p>\n\u003ch2>‘The girls came together’\u003c/h2>\n\u003cp>One of those young voters is 18-year-old Fremont resident Talon Hollestelle. As a fan of Charli XCX’s music since they were 10, courtesy of their older sister, Hollestelle was thrilled that their preferred candidate got the brat approval.\u003c/p>\n\u003cfigure id=\"attachment_13967069\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-033-KQED.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967069\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-033-KQED.jpg\" alt=\"Men and women stand and kneel for a picture. Several of the people are wearing dark and neon green clothing items.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-033-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-033-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-033-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-033-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-033-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-033-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-033-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">From left to right: Charli XCX fans Cameron Rivera, Maryam Almahdi, Jordan Mclean, tushawn, DJ Repose, and Talon Hollestelle pose for a portrait while waiting to attend the Sweat Tour at Chase Center in San Francisco. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“That’s feminism, period. That’s feminism. The girls came together,” Hollestelle said. “I was like, ‘Maybe I should vote for Kamala?’ Which I always said I was going to anyway.”\u003c/p>\n\u003cp>For Hollestelle, Harris is their clear choice for president. While they’re concerned about her support of Israel during \u003ca href=\"https://www.kqed.org/news/tag/gaza\">its yearlong siege of Gaza\u003c/a>, Hollestelle said \u003ca href=\"https://www.kqed.org/news/11917975/with-roe-v-wade-overturned-whats-next-for-our-constitutional-rights\">the 2022 overturning of Roe v. Wade\u003c/a> makes them worried about the future of constitutional rights like marriage equality under a second Trump administration. (This election season, Californians can vote on whether \u003ca href=\"https://www.kqed.org/voterguide/california/proposition-3\">marriage rights for same-sex couples\u003c/a> should be enshrined in the state constitution.)\u003c/p>\n\u003cp>Camillo Cervantes, 22, from San Jose, said he shared this concern for constitutional rights in the U.S. He was particularly worried about how many officials have been \u003ca href=\"https://www.nytimes.com/2022/07/08/us/christian-nationalism-politicians.html\">making decisions based on religious beliefs\u003c/a> instead of research.\u003c/p>\n\u003cfigure id=\"attachment_13967063\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-019-KQED.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967063\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-019-KQED.jpg\" alt='A person wearing sun glasses and a sleeveless black t-shirt that says \"brat\" in sequins poses with an arm up.' width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-019-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-019-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-019-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-019-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-019-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-019-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-019-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Camillo Cervantes, 22, poses for a portrait while waiting to attend Charli XCX and Troye Sivan’s Sweat Tour. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I’m not going to knock a religion or anything like that, but I feel like once you incorporate that, it starts to steer away from statistics and science,” Cervantes said. “Topics like abortion, racial injustice, LGBT [rights] — you can talk about it for days, but I feel like we’ve been steered towards … ‘I want to make a law that gets rid of something because I think it’s okay to do that.’”\u003c/p>\n\u003cfigure id=\"attachment_13967064\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-020-KQED.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967064\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-020-KQED.jpg\" alt=\"A closeup image of the word brat shaved onto the back of a person's head.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-020-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-020-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-020-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-020-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-020-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-020-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-020-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Camillo Cervantes, 22, shaved ‘brat’ onto his head for Charli XCX and Troye Sivan’s Sweat Tour. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cervantes said that this year’s election — with its \u003ca href=\"https://www.vox.com/2024-elections/378909/election-2024-polls-harris-trump-winning-odds\">too-close-to-tell polling\u003c/a> that has Trump and Harris neck and neck — has been giving him flashbacks to Trump’s 2016 win over Hillary Clinton, who had the popular vote.\u003c/p>\n\u003cp>“We definitely need to get rid of \u003ca href=\"https://www.vox.com/policy-and-politics/2016/11/7/12315574/electoral-college-explained-presidential-elections-2016\">the Electoral College\u003c/a>,” he said. “I feel like it might come down to a situation like that again.”\u003c/p>\n\u003ch2>‘Finally looking at the youths’\u003c/h2>\n\u003cp>Before Biden dropped out of the race this summer, \u003ca href=\"https://apnews.com/article/biden-trump-poll-drop-out-debate-democrats-59eebaca6989985c2bfbf4f72bdfa112\">frustration with his performance among Democratic voters was high\u003c/a>. And many Americans dealt with the news the way they always had: by \u003ca href=\"https://www.vox.com/even-better/23892562/messy-art-posting-through-it-instagram-tiktok\">posting through it\u003c/a>.[aside postID=\"arts_13966893,news_11997647\" label=\"Related Stories\"]\u003c/p>\n\u003cp>Online expressions of fan culture had already \u003ca href=\"https://www.nytimes.com/interactive/2019/09/11/arts/how-fan-culture-is-swallowing-democracy.html\">found its way into American politics\u003c/a>, and when Harris’s candidacy was announced, the memes, edits and fancams instantly turned their attention to the vice president — who had already proved \u003ca href=\"https://www.kqed.org/news/11997647/brat-kamala-harris-charli-xcx-coconut-tree-donald-trump\">a great source for out-of-context online moments\u003c/a>.\u003c/p>\n\u003cp>A wave of enthusiasm lit up left-leaning voters: among them, Charli XCX-themed posts. The same \u003ca href=\"https://www.youtube.com/watch?v=Ol9CCM240Ag\">“365 party girl” music\u003c/a> that had been applied to gymnast \u003ca href=\"https://www.tiktok.com/@georgiasffx/video/7396970749543681288?_r=1&_t=8qlp02gDCtm\">Simone Biles\u003c/a>. \u003ci>It’s Always Sunny in Philadelphia’s \u003c/i>\u003ca href=\"https://www.tiktok.com/t/ZTFXSkWqP/\">Dennis Reynolds\u003c/a>, \u003ci>Sex and the City\u003c/i>’s \u003ca href=\"https://www.tiktok.com/@jillapca4vb/video/7394625783114894625?_r=1&_t=8qlotSWzQh0\">Samantha Jones\u003c/a> and \u003ca href=\"https://www.tiktok.com/t/ZTFCgHSMU/\">\u003ci>The Cat in the Hat\u003c/i>\u003c/a> was now used for \u003ca href=\"https://www.tiktok.com/t/ZTFXSYbw3/\">fancams of Harris\u003c/a>.\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px; min-width: 325px;\" cite=\"https://www.tiktok.com/@nbcsnl/video/7427989944993451294\" data-video-id=\"7427989944993451294\">\n\u003csection>\u003ca title=\"@nbcsnl\" href=\"https://www.tiktok.com/@nbcsnl?refer=embed\" target=\"_blank\" rel=\"noopener\">@nbcsnl\u003c/a>\u003ca title=\"♬ original sound - Saturday Night Live - SNL\" href=\"https://www.tiktok.com/music/original-sound-7427989938500537119?refer=embed\" target=\"_blank\" rel=\"noopener\">♬ original sound – Saturday Night Live – SNL\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>[tiktok]\u003c/p>\n\u003cp>The fact that \u003ca href=\"https://www.kqed.org/news/12009089/how-internet-culture-is-influencing-the-election\">sincerity is hard to decipher online\u003c/a> — and that many of the posters behind the Harris memes may have more \u003ca href=\"https://www.dazeddigital.com/life-culture/article/64914/1/ethel-cain-says-we-are-in-an-irony-epidemic-is-she-right?\">ironic intentions\u003c/a> — has not prevented the Harris campaign pumping out merchandise and images referencing pop stars like \u003ca href=\"https://store.kamalaharris.com/harris-walz-friendship-bracelets/\">Taylor Swift\u003c/a>, \u003ca href=\"https://wwd.com/pop-culture/celebrity-news/harriz-walz-camo-hat-1236536392/\">Chappell Roan\u003c/a>, and most notably, Charli XCX’s \u003ca href=\"https://www.theguardian.com/us-news/article/2024/jul/23/kamala-harris-charli-xcx-brat\">\u003ci>brat\u003c/i>\u003c/a> brand.\u003c/p>\n\u003cp>For her part, 27-year-old San Francisco resident Courtney Kessler said she was excited that the Democrats were “finally looking at the youths.”\u003c/p>\n\u003cfigure id=\"attachment_13967073\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-043-KQED.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967073\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-043-KQED.jpg\" alt=\"A woman wearing a neon green shirt with text and a black skirt stands outside.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-043-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-043-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-043-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-043-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-043-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-043-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-043-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Courtney Kessler, 27, wears a Charli XCX-themed shirt with a viral quote from Vice President Harris at the Sweat Tour. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I feel like that’s a big thing that has been missing from a lot of elections,” said Kessler, who cites her major concerns this election as reproductive rights, housing and student loans. She said she was “just really happy” to see the Democrats “modernizing their campaign strategies to actually match the voter population.”\u003c/p>\n\u003cfigure id=\"attachment_13967071\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-037-KQED.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967071\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-037-KQED.jpg\" alt=\"Two white men wearing neon green hats and clothing kiss.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-037-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-037-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-037-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-037-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-037-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-037-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-037-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Charli XCX fans Eric Oesterle, left, and DJ Rotten Robbie, right, kiss before attending Charli XCX and Troye Sivan’s Sweat Tour. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Charli XCX herself has said \u003ca href=\"https://x.com/xcxsource/status/1843727431640986007?s=46&t=7BBzFwo6eYLzJIVfAlumEQ\">she didn’t expect\u003c/a> her “kamala IS brat” post — something \u003ca href=\"https://www.vulture.com/article/charli-xcx-interview-brat-summer-fall-kamala-harris.html\">she apparently dashed off poolside\u003c/a> as a lighthearted way to welcome Harris to the presidential race — to take off the way it did. Nor for it to result in her \u003ca href=\"https://www.reddit.com/r/charlixcx/comments/1eao8zy/charli_has_made_it_to_fox_news_of_all_places_at/\">interviews about partying\u003c/a> getting dissected on Fox News. But “to be on the right side of democracy, the right side of women’s rights, is hugely important to me,” Charli XCX told \u003ca href=\"https://www.vulture.com/article/charli-xcx-interview-brat-summer-fall-kamala-harris.html\">\u003ci>New York Magazine\u003c/i>\u003c/a>. “I’m happy to help to prevent democracy from failing forever.”\u003c/p>\n\u003cfigure id=\"attachment_13967058\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-009-KQED.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967058\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-009-KQED.jpg\" alt=\"A woman shows her nails that are painted neon green with letters and is wearing a neon green coat.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-009-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-009-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-009-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-009-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-009-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-009-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-009-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Morgan Le, 28, of Eugene, Oregon, shows off his ‘brat’ themed nails while waiting to attend Charli XCX and Troye Sivan’s Sweat Tour. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Texas resident Adam Xavier Vega, 20, said they found the brat-Harris combination to be “really fun.”\u003c/p>\n\u003cp>“I’ve been a fan of Charli for so long,” they said. “So just seeing how much of an impact she can make on politics and stuff is just insane.”\u003c/p>\n\u003cfigure id=\"attachment_13967060\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-014-KQED.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967060\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-014-KQED.jpg\" alt='A man wearing neon green clothing poses for a portrait outside while holding a vinyl album that says \"brat.\"' width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-014-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-014-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-014-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-014-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-014-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-014-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-014-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Adam Xavier Vega, 20, of Nacogdoches, Texas, poses for a portrait with their ‘brat’ LP while waiting to attend Charli XCX and Troye Sivan’s Sweat Tour. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Vega — who said they were most worried about marginalized people and lower-income families in the outcome of the election — said that it’s “very helpful” for an artist like Charli XCX to support “a candidate who’s actually trying to help.”\u003c/p>\n\u003cp>“I feel like a lot of her fans are like these lower-tier people who listen to her music and think it’s very inspiring,” Vega said. “Because that’s me.”\u003c/p>\n\u003cp>https://twitter.com/moistbreezy/status/1815906620943286528\u003c/p>\n\u003cp>San Francisco resident Kajal Dharmar, 22, said that not only had they become more interested in the election once Harris entered the race, but they’d since observed just how much pop stars were impacting the election — including Taylor Swift’s endorsement of Harris, which led to \u003ca href=\"https://www.reuters.com/fact-check/clicks-taylor-swifts-voter-registration-link-misinterpreted-online-2024-09-13/\">a spike in visits to a voter registration website\u003c/a>.\u003c/p>\n\u003cp>The Harris campaign “did a really good job of targeting the people that were my age and making content that was specifically geared towards us,” Dharmar said, noting that her reaction was, “Okay, this isn’t ugly, cringey, millennial content.”\u003c/p>\n\u003cp>https://twitter.com/aherman2006/status/1815226190770160070\u003c/p>\n\u003cp>This Very Online approach “was actually something that made me laugh a little bit,” she said. “Which I was not expecting from a political campaign at all.”\u003c/p>\n\u003cfigure id=\"attachment_13967059\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-010-KQED.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967059\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-010-KQED.jpg\" alt=\"Two women stand next to each other. The woman on the left has her hair wrapped in a dark green scarf and is wearing a black jacket. The woman on the right has on a red tank top and a purple lanyard hangs from their necks.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-010-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-010-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-010-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-010-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-010-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-010-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-010-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Khadijah Rashid, 20, and Kajal Dharmar, 22, pose for a portrait while waiting to attend Charli XCX and Troye Sivan’s Sweat Tour. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘I guess that’s the game’\u003c/h2>\n\u003cp>However, Khadijah Rashid, 20, was a little more perplexed. “I was really confused because [Charli XCX is] not American,” she laughed. “And so I was like, ‘What possessed you to make a comment on the American presidential candidate?’”\u003c/p>\n\u003cp>Rashid, who traveled from Illinois for the San Francisco show and who lists climate change and environmental sustainability as her voting priorities, noted that the \u003ca href=\"https://www.michiganpublic.org/politics-government/2024-09-09/a-new-poll-finds-a-surprising-presidential-choice-for-muslim-american-voters-in-michigan\">Democratic Party lost many Muslim voters this year\u003c/a>. Swing states like Michigan have a large Muslim population that has been \u003ca href=\"https://www.npr.org/2024/09/19/nx-s1-5115867/muslim-voters-say-they-dont-feel-understood-or-welcomed-by-republicans-or-democrats\">vocal over the siege in Gaza, and the United States’ role in supporting Israel\u003c/a>.[aside label=\"From the 2024 Voter Guide\" link1='https://www.kqed.org/voterguide/president,Learn about the U.S. Presidential Election' hero=https://cdn.kqed.org/wp-content/uploads/sites/80/2024/09/Aside-Presidential-2024-General-Election-1200x1200-1.png]\u003c/p>\n\u003cp>“A really large part of my Muslim community is planning on voting independent for the presidential election,” Rashid said — adding that this shouldn’t come across as a surprise to elected officials.\u003c/p>\n\u003cp>From her experience in reaching out to her representatives and senators in Illinois, she said they knew exactly why Muslim voters were upset. “I don’t think that there’s anything for me to say that they don’t already know,” she said.\u003c/p>\n\u003cp>Among \u003ca href=\"https://www.newsweek.com/hasan-piker-comments-kamala-harris-election-campaign-strategy-1970819\">some left-leaning voters\u003c/a> who support Palestinians and immigrant rights, excitement for Harris began to wane around \u003ca href=\"https://apnews.com/article/uncommitted-palestinian-convention-harris-918812eb0e19b9669f8b9b9cd88c6360\">her speech at the Democratic National Convention\u003c/a>. For them, there was a feeling her policies had strayed \u003ca href=\"https://www.vox.com/politics/378977/kamala-harris-loses-trump-2024-election-democratic-party\">too close to the center\u003c/a> of the political spectrum.\u003c/p>\n\u003cp>One of those voters, 19-year-old San Francisco resident Grey Davila, said they were trying not to think about the election, uneasy about the idea of Trump winning. At the same time, they said they weren’t happy \u003ca href=\"https://www.vox.com/politics/378478/harris-immigration-border-progressive-agenda-2024-election\">with either side’s stated policies on immigration\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13967056\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-003-KQED.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967056\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-003-KQED.jpg\" alt='A white man with glasses and a necklace poses wearing a white undershirt that says \"brat.\"' width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-003-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-003-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-003-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-003-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-003-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-003-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-003-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Grey Davila, 19, of San Francisco, poses for a portrait while waiting to attend the Sweat Tour. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It doesn’t sit with me,” they said. Undocumented people and immigrants are “trying to get here to escape persecution or war in their countries. And it’s really messed up how both parties have made this twisted perception of immigration.”\u003c/p>\n\u003cp>Oakland resident Jules Michicich, 26, who wore a black button-up with a lime green clerical collar, with the Charli XCX lyric \u003ca href=\"https://www.youtube.com/watch?v=FTIvFD7TCVg\">‘jesus christ on a plastic sign\u003c/a>’ on their back — was similarly anxious but checked out.\u003c/p>\n\u003cfigure id=\"attachment_13967061\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-015-KQED.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967061\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-015-KQED.jpg\" alt=\"A person wearing glasses and a priest's uniform leans against a guard rail with people behind them.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-015-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-015-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-015-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-015-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-015-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-015-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-015-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Jules Michicich, 26, poses for a portrait while waiting in line for Charli XCX and Troye Sivan’s Sweat Tour. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>They said that in the absence of “a pro-Palestine candidate,” they were nonetheless “hoping that if we elect Democrats, that we can at least put pressure on the Democratic Party to take a more progressive stance on certain issues.”\u003c/p>\n\u003cp>“The Democrats aren’t very left,” Michicich said. “We’re not very progressive and maybe haven’t been for a minute. But there isn’t really a great option when you are critical of the United States as an imperialist state.”\u003c/p>\n\u003cfigure id=\"attachment_13967062\" class=\"wp-caption aligncenter\" style=\"max-width: 1333px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-018-KQED.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967062\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-018-KQED.jpg\" alt=\"A person wearing a black shirt has a neon green sign on their back with text and an image of a man nailed to a cross.\" width=\"1333\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-018-KQED.jpg 1333w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-018-KQED-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-018-KQED-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-018-KQED-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-018-KQED-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-018-KQED-1024x1536.jpg 1024w\" sizes=\"(max-width: 1333px) 100vw, 1333px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Jules Michicich, 26, poses for a portrait while waiting in line for Charli XCX and Troye Sivan’s Sweat Tour. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Unlike others, Michicich said they weren’t impressed or swayed by the Harris/brat memes — especially as they were “probably going to vote for” Harris anyway.\u003c/p>\n\u003cp>“It’s a little cringy, of course. I feel like most presidential campaign moves are,” Michicich said. They found it “a little disturbing” that establishments like the Democratic Party were trying to “meme themselves” as part of American politics.\u003c/p>\n\u003cp>“I guess that’s the game,” they said.\u003c/p>\n\u003cp>Walnut Creek resident Isaiah Wrice, 24, said that they were also most concerned over the siege of Gaza — but the support both Harris and Trump had expressed for Israel “makes it very hard for me as a voter to decide who I’m going to vote for.”\u003c/p>\n\u003cp>“Neither of them align with where I align with on the issues,” they said.\u003c/p>\n\u003cfigure id=\"attachment_13967067\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-029-KQED.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967067\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-029-KQED.jpg\" alt=\"A black man wearing a ripped t-shirt and white elbow covers leans against a guard rail with people behind him.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-029-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-029-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-029-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-029-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-029-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-029-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-029-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Isaiah Wrice, 24, poses for a portrait while waiting in line for Charli XCX and Troye Sivan’s Sweat Tour at Chase Center in San Francisco on Sunday, Oct. 20, 2024. Wrice, of Walnut Creek, feels strongly about voting in local elections rather than the presidential election as a California resident. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While Wrice said they usually feel safer as a California resident, they are worried about the impact of a Trump presidency on people in red states — and were particularly alarmed by \u003ca href=\"https://www.kqed.org/news/11998288/what-is-project-2025-donald-trump-heritage-foundation-director-steps-down\">Project 2025\u003c/a>.\u003c/p>\n\u003cp>“All of these federal regulation groups that allow us to function as a society — they’re trying to break them down,” they said. “That’s very scary because that is something that would affect my life here.”\u003c/p>\n\u003cp>Knowing California is a blue state that will almost certainly vote in favor of Harris, Wrice said, “I honestly don’t even know if I’m going to vote for president.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“I’m much more focused on my local and state elections where I can make some more impact,” they said.\u003c/p>\n\n",
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"title": "Charli XCX Said ‘Kamala IS Brat.’ 3 Months On, Do Her Bay Area Fans Agree? | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>This story is part of the KQED series \u003c/i>\u003ca href=\"https://www.kqed.org/fandomvote\">\u003ci>The Fandom Vote\u003c/i>\u003c/a>\u003ci>, exploring the election-year concerns and voting preferences of pop culture fanbases.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">E\u003c/span>\u003c/p>\u003cp>ven a die-hard Charli XCX fan transported from June 2024 straight to \u003ca href=\"https://www.kqed.org/arts/13966893/charli-xcx-troye-sivan-chase-center-san-francisco-review\">her sold-out San Francisco show last week\u003c/a> could be forgiven for being confused.\u003c/p>\n\u003cp>They wouldn’t be surprised by the stylish warehouse rave fits, of course, almost all of which paid homage to the visuals of \u003ca href=\"https://www.kqed.org/arts/13966893/charli-xcx-troye-sivan-chase-center-san-francisco-review\">Charli XCX’s hyperpop summer album \u003ci>brat\u003c/i>\u003c/a> in neon-matcha green. Or the excitement of the crowd, who packed out the Chase Center to watch the British artist perform alongside Troye Sivan for a night of electropop with deep roots in queer culture.\u003c/p>\n\u003cp>What they would likely \u003ci>not\u003c/i> be able to comprehend: the shirts saying, “\u003ca href=\"https://www.kqed.org/news/11997647/brat-kamala-harris-charli-xcx-coconut-tree-donald-trump\">you think you just fell out of a coconut tree?\u003c/a>” Or “make america brat again.” Or “demo(b)rat.”\u003c/p>\n\u003cfigure id=\"attachment_13967066\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-026-KQED.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967066\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-026-KQED.jpg\" alt=\"A person wearing sun glasses, a scarf wrapped around their head and a t-shirt with a neon green background raises their hands in front of a gate.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-026-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-026-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-026-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-026-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-026-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-026-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-026-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Manav Guruswami, 18, wears a Charli XCX-themed shirt with a quote from Vice President Kamala Harris while waiting to attend the Sweat Tour at Chase Center in San Francisco. Guruswami thinks the Harris Walz campaign’s use of ‘brat’ is an intelligent marketing campaign for the younger generation of voters. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The reason for this new presence in the Charli XCX fandom? On July 21, President Joe Biden \u003ca href=\"https://www.kqed.org/news/11996483/if-joe-biden-drops-out-kamala-harris-gavin-newsom-democratic-convention\">stepped down\u003c/a> as the Democratic presidential candidate and vice president — and the \u003ca href=\"https://www.kqed.org/news/11901099/remembering-the-rainbow-sign-the-short-but-powerful-reign-of-berkeleys-1970s-black-cultural-center\">Bay Area’s own\u003c/a> — Kamala Harris stepped forward. In the middle of the fever-pitch commentary that followed, the ever-online Charli XCX, riding high amid what had already been dubbed “brat summer,” still somehow managed to dominate the conversation with three words posted to X: “kamala IS brat.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>From this moment on, the Democratic party sought to leverage \u003ca href=\"https://www.billboard.com/music/music-news/taylor-swift-endorsement-harris-walz-friendship-bracelets-1235772337/\">the endorsement power of the pop girls\u003c/a>, like Charli, and \u003ca href=\"https://www.kqed.org/news/11997449/why-kamala-harris-is-having-a-brat-summer\">co-opt the memes\u003c/a> in pursuit of \u003ca href=\"https://wwd.com/pop-culture/celebrity-news/harriz-walz-camo-hat-1236536392/\">younger voters\u003c/a>.\u003c/p>\n\u003ch2>‘The girls came together’\u003c/h2>\n\u003cp>One of those young voters is 18-year-old Fremont resident Talon Hollestelle. As a fan of Charli XCX’s music since they were 10, courtesy of their older sister, Hollestelle was thrilled that their preferred candidate got the brat approval.\u003c/p>\n\u003cfigure id=\"attachment_13967069\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-033-KQED.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967069\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-033-KQED.jpg\" alt=\"Men and women stand and kneel for a picture. Several of the people are wearing dark and neon green clothing items.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-033-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-033-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-033-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-033-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-033-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-033-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-033-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">From left to right: Charli XCX fans Cameron Rivera, Maryam Almahdi, Jordan Mclean, tushawn, DJ Repose, and Talon Hollestelle pose for a portrait while waiting to attend the Sweat Tour at Chase Center in San Francisco. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“That’s feminism, period. That’s feminism. The girls came together,” Hollestelle said. “I was like, ‘Maybe I should vote for Kamala?’ Which I always said I was going to anyway.”\u003c/p>\n\u003cp>For Hollestelle, Harris is their clear choice for president. While they’re concerned about her support of Israel during \u003ca href=\"https://www.kqed.org/news/tag/gaza\">its yearlong siege of Gaza\u003c/a>, Hollestelle said \u003ca href=\"https://www.kqed.org/news/11917975/with-roe-v-wade-overturned-whats-next-for-our-constitutional-rights\">the 2022 overturning of Roe v. Wade\u003c/a> makes them worried about the future of constitutional rights like marriage equality under a second Trump administration. (This election season, Californians can vote on whether \u003ca href=\"https://www.kqed.org/voterguide/california/proposition-3\">marriage rights for same-sex couples\u003c/a> should be enshrined in the state constitution.)\u003c/p>\n\u003cp>Camillo Cervantes, 22, from San Jose, said he shared this concern for constitutional rights in the U.S. He was particularly worried about how many officials have been \u003ca href=\"https://www.nytimes.com/2022/07/08/us/christian-nationalism-politicians.html\">making decisions based on religious beliefs\u003c/a> instead of research.\u003c/p>\n\u003cfigure id=\"attachment_13967063\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-019-KQED.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967063\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-019-KQED.jpg\" alt='A person wearing sun glasses and a sleeveless black t-shirt that says \"brat\" in sequins poses with an arm up.' width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-019-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-019-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-019-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-019-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-019-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-019-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-019-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Camillo Cervantes, 22, poses for a portrait while waiting to attend Charli XCX and Troye Sivan’s Sweat Tour. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I’m not going to knock a religion or anything like that, but I feel like once you incorporate that, it starts to steer away from statistics and science,” Cervantes said. “Topics like abortion, racial injustice, LGBT [rights] — you can talk about it for days, but I feel like we’ve been steered towards … ‘I want to make a law that gets rid of something because I think it’s okay to do that.’”\u003c/p>\n\u003cfigure id=\"attachment_13967064\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-020-KQED.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967064\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-020-KQED.jpg\" alt=\"A closeup image of the word brat shaved onto the back of a person's head.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-020-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-020-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-020-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-020-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-020-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-020-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-020-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Camillo Cervantes, 22, shaved ‘brat’ onto his head for Charli XCX and Troye Sivan’s Sweat Tour. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cervantes said that this year’s election — with its \u003ca href=\"https://www.vox.com/2024-elections/378909/election-2024-polls-harris-trump-winning-odds\">too-close-to-tell polling\u003c/a> that has Trump and Harris neck and neck — has been giving him flashbacks to Trump’s 2016 win over Hillary Clinton, who had the popular vote.\u003c/p>\n\u003cp>“We definitely need to get rid of \u003ca href=\"https://www.vox.com/policy-and-politics/2016/11/7/12315574/electoral-college-explained-presidential-elections-2016\">the Electoral College\u003c/a>,” he said. “I feel like it might come down to a situation like that again.”\u003c/p>\n\u003ch2>‘Finally looking at the youths’\u003c/h2>\n\u003cp>Before Biden dropped out of the race this summer, \u003ca href=\"https://apnews.com/article/biden-trump-poll-drop-out-debate-democrats-59eebaca6989985c2bfbf4f72bdfa112\">frustration with his performance among Democratic voters was high\u003c/a>. And many Americans dealt with the news the way they always had: by \u003ca href=\"https://www.vox.com/even-better/23892562/messy-art-posting-through-it-instagram-tiktok\">posting through it\u003c/a>.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Online expressions of fan culture had already \u003ca href=\"https://www.nytimes.com/interactive/2019/09/11/arts/how-fan-culture-is-swallowing-democracy.html\">found its way into American politics\u003c/a>, and when Harris’s candidacy was announced, the memes, edits and fancams instantly turned their attention to the vice president — who had already proved \u003ca href=\"https://www.kqed.org/news/11997647/brat-kamala-harris-charli-xcx-coconut-tree-donald-trump\">a great source for out-of-context online moments\u003c/a>.\u003c/p>\n\u003cp>A wave of enthusiasm lit up left-leaning voters: among them, Charli XCX-themed posts. The same \u003ca href=\"https://www.youtube.com/watch?v=Ol9CCM240Ag\">“365 party girl” music\u003c/a> that had been applied to gymnast \u003ca href=\"https://www.tiktok.com/@georgiasffx/video/7396970749543681288?_r=1&_t=8qlp02gDCtm\">Simone Biles\u003c/a>. \u003ci>It’s Always Sunny in Philadelphia’s \u003c/i>\u003ca href=\"https://www.tiktok.com/t/ZTFXSkWqP/\">Dennis Reynolds\u003c/a>, \u003ci>Sex and the City\u003c/i>’s \u003ca href=\"https://www.tiktok.com/@jillapca4vb/video/7394625783114894625?_r=1&_t=8qlotSWzQh0\">Samantha Jones\u003c/a> and \u003ca href=\"https://www.tiktok.com/t/ZTFCgHSMU/\">\u003ci>The Cat in the Hat\u003c/i>\u003c/a> was now used for \u003ca href=\"https://www.tiktok.com/t/ZTFXSYbw3/\">fancams of Harris\u003c/a>.\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px; min-width: 325px;\" cite=\"https://www.tiktok.com/@nbcsnl/video/7427989944993451294\" data-video-id=\"7427989944993451294\">\n\u003csection>\u003ca title=\"@nbcsnl\" href=\"https://www.tiktok.com/@nbcsnl?refer=embed\" target=\"_blank\" rel=\"noopener\">@nbcsnl\u003c/a>\u003ca title=\"♬ original sound - Saturday Night Live - SNL\" href=\"https://www.tiktok.com/music/original-sound-7427989938500537119?refer=embed\" target=\"_blank\" rel=\"noopener\">♬ original sound – Saturday Night Live – SNL\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 fact that \u003ca href=\"https://www.kqed.org/news/12009089/how-internet-culture-is-influencing-the-election\">sincerity is hard to decipher online\u003c/a> — and that many of the posters behind the Harris memes may have more \u003ca href=\"https://www.dazeddigital.com/life-culture/article/64914/1/ethel-cain-says-we-are-in-an-irony-epidemic-is-she-right?\">ironic intentions\u003c/a> — has not prevented the Harris campaign pumping out merchandise and images referencing pop stars like \u003ca href=\"https://store.kamalaharris.com/harris-walz-friendship-bracelets/\">Taylor Swift\u003c/a>, \u003ca href=\"https://wwd.com/pop-culture/celebrity-news/harriz-walz-camo-hat-1236536392/\">Chappell Roan\u003c/a>, and most notably, Charli XCX’s \u003ca href=\"https://www.theguardian.com/us-news/article/2024/jul/23/kamala-harris-charli-xcx-brat\">\u003ci>brat\u003c/i>\u003c/a> brand.\u003c/p>\n\u003cp>For her part, 27-year-old San Francisco resident Courtney Kessler said she was excited that the Democrats were “finally looking at the youths.”\u003c/p>\n\u003cfigure id=\"attachment_13967073\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-043-KQED.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967073\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-043-KQED.jpg\" alt=\"A woman wearing a neon green shirt with text and a black skirt stands outside.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-043-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-043-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-043-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-043-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-043-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-043-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-043-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Courtney Kessler, 27, wears a Charli XCX-themed shirt with a viral quote from Vice President Harris at the Sweat Tour. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I feel like that’s a big thing that has been missing from a lot of elections,” said Kessler, who cites her major concerns this election as reproductive rights, housing and student loans. She said she was “just really happy” to see the Democrats “modernizing their campaign strategies to actually match the voter population.”\u003c/p>\n\u003cfigure id=\"attachment_13967071\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-037-KQED.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967071\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-037-KQED.jpg\" alt=\"Two white men wearing neon green hats and clothing kiss.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-037-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-037-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-037-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-037-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-037-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-037-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-037-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Charli XCX fans Eric Oesterle, left, and DJ Rotten Robbie, right, kiss before attending Charli XCX and Troye Sivan’s Sweat Tour. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Charli XCX herself has said \u003ca href=\"https://x.com/xcxsource/status/1843727431640986007?s=46&t=7BBzFwo6eYLzJIVfAlumEQ\">she didn’t expect\u003c/a> her “kamala IS brat” post — something \u003ca href=\"https://www.vulture.com/article/charli-xcx-interview-brat-summer-fall-kamala-harris.html\">she apparently dashed off poolside\u003c/a> as a lighthearted way to welcome Harris to the presidential race — to take off the way it did. Nor for it to result in her \u003ca href=\"https://www.reddit.com/r/charlixcx/comments/1eao8zy/charli_has_made_it_to_fox_news_of_all_places_at/\">interviews about partying\u003c/a> getting dissected on Fox News. But “to be on the right side of democracy, the right side of women’s rights, is hugely important to me,” Charli XCX told \u003ca href=\"https://www.vulture.com/article/charli-xcx-interview-brat-summer-fall-kamala-harris.html\">\u003ci>New York Magazine\u003c/i>\u003c/a>. “I’m happy to help to prevent democracy from failing forever.”\u003c/p>\n\u003cfigure id=\"attachment_13967058\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-009-KQED.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967058\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-009-KQED.jpg\" alt=\"A woman shows her nails that are painted neon green with letters and is wearing a neon green coat.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-009-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-009-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-009-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-009-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-009-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-009-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-009-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Morgan Le, 28, of Eugene, Oregon, shows off his ‘brat’ themed nails while waiting to attend Charli XCX and Troye Sivan’s Sweat Tour. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Texas resident Adam Xavier Vega, 20, said they found the brat-Harris combination to be “really fun.”\u003c/p>\n\u003cp>“I’ve been a fan of Charli for so long,” they said. “So just seeing how much of an impact she can make on politics and stuff is just insane.”\u003c/p>\n\u003cfigure id=\"attachment_13967060\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-014-KQED.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967060\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-014-KQED.jpg\" alt='A man wearing neon green clothing poses for a portrait outside while holding a vinyl album that says \"brat.\"' width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-014-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-014-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-014-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-014-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-014-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-014-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-014-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Adam Xavier Vega, 20, of Nacogdoches, Texas, poses for a portrait with their ‘brat’ LP while waiting to attend Charli XCX and Troye Sivan’s Sweat Tour. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Vega — who said they were most worried about marginalized people and lower-income families in the outcome of the election — said that it’s “very helpful” for an artist like Charli XCX to support “a candidate who’s actually trying to help.”\u003c/p>\n\u003cp>“I feel like a lot of her fans are like these lower-tier people who listen to her music and think it’s very inspiring,” Vega said. “Because that’s me.”\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>San Francisco resident Kajal Dharmar, 22, said that not only had they become more interested in the election once Harris entered the race, but they’d since observed just how much pop stars were impacting the election — including Taylor Swift’s endorsement of Harris, which led to \u003ca href=\"https://www.reuters.com/fact-check/clicks-taylor-swifts-voter-registration-link-misinterpreted-online-2024-09-13/\">a spike in visits to a voter registration website\u003c/a>.\u003c/p>\n\u003cp>The Harris campaign “did a really good job of targeting the people that were my age and making content that was specifically geared towards us,” Dharmar said, noting that her reaction was, “Okay, this isn’t ugly, cringey, millennial content.”\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>This Very Online approach “was actually something that made me laugh a little bit,” she said. “Which I was not expecting from a political campaign at all.”\u003c/p>\n\u003cfigure id=\"attachment_13967059\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-010-KQED.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967059\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-010-KQED.jpg\" alt=\"Two women stand next to each other. The woman on the left has her hair wrapped in a dark green scarf and is wearing a black jacket. The woman on the right has on a red tank top and a purple lanyard hangs from their necks.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-010-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-010-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-010-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-010-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-010-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-010-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-010-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Khadijah Rashid, 20, and Kajal Dharmar, 22, pose for a portrait while waiting to attend Charli XCX and Troye Sivan’s Sweat Tour. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘I guess that’s the game’\u003c/h2>\n\u003cp>However, Khadijah Rashid, 20, was a little more perplexed. “I was really confused because [Charli XCX is] not American,” she laughed. “And so I was like, ‘What possessed you to make a comment on the American presidential candidate?’”\u003c/p>\n\u003cp>Rashid, who traveled from Illinois for the San Francisco show and who lists climate change and environmental sustainability as her voting priorities, noted that the \u003ca href=\"https://www.michiganpublic.org/politics-government/2024-09-09/a-new-poll-finds-a-surprising-presidential-choice-for-muslim-american-voters-in-michigan\">Democratic Party lost many Muslim voters this year\u003c/a>. Swing states like Michigan have a large Muslim population that has been \u003ca href=\"https://www.npr.org/2024/09/19/nx-s1-5115867/muslim-voters-say-they-dont-feel-understood-or-welcomed-by-republicans-or-democrats\">vocal over the siege in Gaza, and the United States’ role in supporting Israel\u003c/a>.\u003c/p>\u003c/div>",
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"link1": "https://www.kqed.org/voterguide/president,Learn about the U.S. Presidential Election",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“A really large part of my Muslim community is planning on voting independent for the presidential election,” Rashid said — adding that this shouldn’t come across as a surprise to elected officials.\u003c/p>\n\u003cp>From her experience in reaching out to her representatives and senators in Illinois, she said they knew exactly why Muslim voters were upset. “I don’t think that there’s anything for me to say that they don’t already know,” she said.\u003c/p>\n\u003cp>Among \u003ca href=\"https://www.newsweek.com/hasan-piker-comments-kamala-harris-election-campaign-strategy-1970819\">some left-leaning voters\u003c/a> who support Palestinians and immigrant rights, excitement for Harris began to wane around \u003ca href=\"https://apnews.com/article/uncommitted-palestinian-convention-harris-918812eb0e19b9669f8b9b9cd88c6360\">her speech at the Democratic National Convention\u003c/a>. For them, there was a feeling her policies had strayed \u003ca href=\"https://www.vox.com/politics/378977/kamala-harris-loses-trump-2024-election-democratic-party\">too close to the center\u003c/a> of the political spectrum.\u003c/p>\n\u003cp>One of those voters, 19-year-old San Francisco resident Grey Davila, said they were trying not to think about the election, uneasy about the idea of Trump winning. At the same time, they said they weren’t happy \u003ca href=\"https://www.vox.com/politics/378478/harris-immigration-border-progressive-agenda-2024-election\">with either side’s stated policies on immigration\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13967056\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-003-KQED.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967056\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-003-KQED.jpg\" alt='A white man with glasses and a necklace poses wearing a white undershirt that says \"brat.\"' width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-003-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-003-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-003-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-003-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-003-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-003-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-003-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Grey Davila, 19, of San Francisco, poses for a portrait while waiting to attend the Sweat Tour. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It doesn’t sit with me,” they said. Undocumented people and immigrants are “trying to get here to escape persecution or war in their countries. And it’s really messed up how both parties have made this twisted perception of immigration.”\u003c/p>\n\u003cp>Oakland resident Jules Michicich, 26, who wore a black button-up with a lime green clerical collar, with the Charli XCX lyric \u003ca href=\"https://www.youtube.com/watch?v=FTIvFD7TCVg\">‘jesus christ on a plastic sign\u003c/a>’ on their back — was similarly anxious but checked out.\u003c/p>\n\u003cfigure id=\"attachment_13967061\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-015-KQED.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967061\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-015-KQED.jpg\" alt=\"A person wearing glasses and a priest's uniform leans against a guard rail with people behind them.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-015-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-015-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-015-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-015-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-015-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-015-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-015-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Jules Michicich, 26, poses for a portrait while waiting in line for Charli XCX and Troye Sivan’s Sweat Tour. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>They said that in the absence of “a pro-Palestine candidate,” they were nonetheless “hoping that if we elect Democrats, that we can at least put pressure on the Democratic Party to take a more progressive stance on certain issues.”\u003c/p>\n\u003cp>“The Democrats aren’t very left,” Michicich said. “We’re not very progressive and maybe haven’t been for a minute. But there isn’t really a great option when you are critical of the United States as an imperialist state.”\u003c/p>\n\u003cfigure id=\"attachment_13967062\" class=\"wp-caption aligncenter\" style=\"max-width: 1333px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-018-KQED.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967062\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-018-KQED.jpg\" alt=\"A person wearing a black shirt has a neon green sign on their back with text and an image of a man nailed to a cross.\" width=\"1333\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-018-KQED.jpg 1333w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-018-KQED-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-018-KQED-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-018-KQED-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-018-KQED-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-018-KQED-1024x1536.jpg 1024w\" sizes=\"(max-width: 1333px) 100vw, 1333px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Jules Michicich, 26, poses for a portrait while waiting in line for Charli XCX and Troye Sivan’s Sweat Tour. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Unlike others, Michicich said they weren’t impressed or swayed by the Harris/brat memes — especially as they were “probably going to vote for” Harris anyway.\u003c/p>\n\u003cp>“It’s a little cringy, of course. I feel like most presidential campaign moves are,” Michicich said. They found it “a little disturbing” that establishments like the Democratic Party were trying to “meme themselves” as part of American politics.\u003c/p>\n\u003cp>“I guess that’s the game,” they said.\u003c/p>\n\u003cp>Walnut Creek resident Isaiah Wrice, 24, said that they were also most concerned over the siege of Gaza — but the support both Harris and Trump had expressed for Israel “makes it very hard for me as a voter to decide who I’m going to vote for.”\u003c/p>\n\u003cp>“Neither of them align with where I align with on the issues,” they said.\u003c/p>\n\u003cfigure id=\"attachment_13967067\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-029-KQED.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967067\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-029-KQED.jpg\" alt=\"A black man wearing a ripped t-shirt and white elbow covers leans against a guard rail with people behind him.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-029-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-029-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-029-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-029-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-029-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-029-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241020-CHARLIXCXFANS-JY-029-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Isaiah Wrice, 24, poses for a portrait while waiting in line for Charli XCX and Troye Sivan’s Sweat Tour at Chase Center in San Francisco on Sunday, Oct. 20, 2024. Wrice, of Walnut Creek, feels strongly about voting in local elections rather than the presidential election as a California resident. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While Wrice said they usually feel safer as a California resident, they are worried about the impact of a Trump presidency on people in red states — and were particularly alarmed by \u003ca href=\"https://www.kqed.org/news/11998288/what-is-project-2025-donald-trump-heritage-foundation-director-steps-down\">Project 2025\u003c/a>.\u003c/p>\n\u003cp>“All of these federal regulation groups that allow us to function as a society — they’re trying to break them down,” they said. “That’s very scary because that is something that would affect my life here.”\u003c/p>\n\u003cp>Knowing California is a blue state that will almost certainly vote in favor of Harris, Wrice said, “I honestly don’t even know if I’m going to vote for president.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Rare Recordings on ‘Bird in Kansas City’ Capture Charlie Parker’s Playful Mood",
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"content": "\u003cfigure id=\"attachment_13967095\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967095\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/verve-recs-via-ap.png\" alt=\"An album cover showing drums and a Black man playing a saxophone.\" width=\"2000\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/verve-recs-via-ap.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/verve-recs-via-ap-800x800.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/verve-recs-via-ap-1020x1020.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/verve-recs-via-ap-160x160.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/verve-recs-via-ap-768x768.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/verve-recs-via-ap-1536x1536.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/verve-recs-via-ap-1920x1920.png 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">‘Bird in Kansas City (Live)’ by Charlie Parker. \u003ccite>(Verve Records via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Listening to Charlie Parker’s saxophone gymnastics on a new album of rare recordings is like watching Simone Biles stretch during warmups.\u003c/p>\n\u003cp>A new collection, \u003cem>Bird in Kansas City\u003c/em> captures Parker’s grace and greatness in casual settings. On 13 cuts recorded in his hometown from 1941 to 1951, the bebop pioneer’s playing is largely informal and relaxed, yet still Olympian.\u003c/p>\n\u003cp>[aside postid='arts_13966868']The material, much of it never heard before, includes two sets of private recordings with local musicians made during breaks in his travels and concludes with two unreleased songs with the Jay McShann Band. The album will be released Friday.\u003c/p>\n\u003cp>Parker solos from start to finish on each of the private recordings, and he’s in fine form, ideas pouring through the sort of improbable improvisations that tested the limits of his instrument — and jazz. There’s some crackle and hiss in the recordings, and his rhythm section can be difficult to hear, but Bird’s alto sax comes through loud and clear.\u003c/p>\n\u003cp>He experiments with energetic embellishments and long, elaborate phrases never to be repeated. He doesn’t always stick the landing, but it’s virtuosity at high velocity, and his melodic invention still startles.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Parker’s playful mood makes the performances especially appealing. He’s liable to insert scale practice or quotes from other tunes. On “Body and Soul (Phil Baxter Version),” he plays the same note 17 times in a row, and leaves others in the room laughing. That performance is one of seven captured via a portable wire recorder in 1951 during a late-night jam session at a friend’s home, with unknown accompanists on bass and drums.\u003c/p>\n\u003cp>[aside postid='arts_13967001']Also included are four cuts from a studio session arranged by a friend in 1944, when Parker was with the Billy Eckstine Band. Bird is joined by drummer Edward “Little Phil” Phillips and guitarist Efferge Ware, and his playing is especially effortless and even mellow. He makes longtime staple “Cherokee” sound new on the album’s Vic Damone version, delves into hot club jazz on “I’ve Found a New Baby,” and renders an especially romantic reading of “My Heart Tells Me.”\u003c/p>\n\u003cp>The cuts with McShann from 1941 seem tacked on. The stodgy performances haven’t aged well, and the band sounds remote, although Parker’s solo on “I’m Getting Sentimental Over You” is worth a careful listen.\u003c/p>\n\u003cp>Judges may not give \u003cem>Bird in Kansas City\u003c/em> a perfect score of 10, but it’s still a welcome addition to Parker’s monumental catalog.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Bird in Kansas City (Live)’ by Charlie Parker is released on Oct. 25, 2024, via Verve.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Also included are four cuts from a studio session arranged by a friend in 1944, when Parker was with the Billy Eckstine Band. Bird is joined by drummer Edward “Little Phil” Phillips and guitarist Efferge Ware, and his playing is especially effortless and even mellow. He makes longtime staple “Cherokee” sound new on the album’s Vic Damone version, delves into hot club jazz on “I’ve Found a New Baby,” and renders an especially romantic reading of “My Heart Tells Me.”\u003c/p>\n\u003cp>The cuts with McShann from 1941 seem tacked on. The stodgy performances haven’t aged well, and the band sounds remote, although Parker’s solo on “I’m Getting Sentimental Over You” is worth a careful listen.\u003c/p>\n\u003cp>Judges may not give \u003cem>Bird in Kansas City\u003c/em> a perfect score of 10, but it’s still a welcome addition to Parker’s monumental catalog.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Bird in Kansas City (Live)’ by Charlie Parker is released on Oct. 25, 2024, via Verve.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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}
},
"baycurious": {
"id": "baycurious",
"title": "Bay Curious",
"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/news/series/baycurious",
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"source": "kqed",
"order": 3
},
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"npr": "https://www.npr.org/podcasts/500557090/bay-curious",
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}
},
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"id": "bbc-world-service",
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"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
"airtime": "MON-FRI 9pm-10pm, TUE-FRI 1am-2am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.bbc.co.uk/sounds/play/live:bbc_world_service",
"meta": {
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"source": "BBC World Service"
},
"link": "/radio/program/bbc-world-service",
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"apple": "https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2",
"tuneIn": "https://tunein.com/radio/BBC-World-Service-p455581/",
"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/californiareport",
"meta": {
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"source": "kqed",
"order": 8
},
"link": "/californiareport",
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"amazon": "https://music.amazon.com/podcasts/26099305-72af-4542-9dde-ac1807fe36d5/kqed-s-the-california-report",
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}
},
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"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
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"officialWebsiteLink": "/podcasts/closealltabs",
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"source": "kqed",
"order": 1
},
"link": "/podcasts/closealltabs",
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
"site": "radio",
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},
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"apple": "https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2",
"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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}
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"meta": {
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"source": "kqed",
"order": 9
},
"link": "/forum",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
"spotify": "https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"
}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
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