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"content": "\u003cp>Seven contestants stood with their backs to the crowd of onlookers on a chilly, gray afternoon, anxiously awaiting the results of the Zendaya \u003ca href=\"https://www.kqed.org/arts/13968233/lookalike-contest-dev-patel-san-francisco-timothee-chalamet-jeremy-allen-white\">look-alike contest\u003c/a> at Wilma Chan Park in Oakland, the actress’ hometown.\u003c/p>\n\u003cp>Event organizer Cassi Simms slowly walked down the line of potential winners on Wednesday, anticipation building as they passed each hopeful.\u003c/p>\n\u003cp>Just as the rain started up again, Simms reached Zainab Bansfield from San Francisco and tapped her on the shoulder. The crowd of around 60 onlookers erupted in cheers as Bansfield was crowned “Miss Zendaya” with a sash and prize basket.\u003c/p>\n\u003cp>[aside postID='arts_13968233']She said she didn’t expect to win — partly because she’s a hijabi.\u003c/p>\n\u003cp>“I really thought that the hijab would throw people off,” Bansfield said. “Honestly, I’m really glad that they saw something in me.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Simms said they were judging not just on how much someone looked like Zendaya, but whether they matched her energy and vibe. Most contestants dressed up as different characters from the actress’ career, such as Tashi Duncan from the movie \u003cem>Challengers\u003c/em> and Rue from the HBO series \u003cem>Euphoria\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13968412\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968412\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7852-1.jpg\" alt=\"\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7852-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7852-1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7852-1-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7852-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7852-1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7852-1-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7852-1-1920x1440.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Event organizer Cassi Simms and contestant Zainab Bansfield cheer on Zenayah, an 11-year-old competing in the Zendaya look-alike contest in Oakland’s Wilma Chan Park on Nov. 20, 2024. \u003ccite>(Riley Cooke/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But organizers also put contestants to the test with a dance-off, a catwalk competition and a pop quiz on Zendaya trivia.\u003c/p>\n\u003cp>“I don’t want people to think that it’s only just a beauty contest, because that’s not what it is,” Simms said. “It’s also just a fun thing. It’s just a shitpost at the end of the day.”\u003c/p>\n\u003cp>Several \u003ca href=\"https://www.kqed.org/arts/13968233/lookalike-contest-dev-patel-san-francisco-timothee-chalamet-jeremy-allen-white\">spontaneous celebrity look-alike contests\u003c/a> have cropped up across the country in recent weeks, taking social media by storm. The inaugural competition for Timothée Chalamet doubles in New York City even had a surprise contestant: the actor himself.\u003c/p>\n\u003cp>Earlier this month across the bay, San Franciscans held a contest at Mission Dolores Park to find Dev Patel doppelgängers.\u003c/p>\n\u003cp>Simms took inspiration from these to plan Oakland’s own spin on the trend, getting the word out through flyers and social media. They said Zendaya was the perfect subject because of her upbringing and philanthropy in Oakland. Earlier this year, the actress \u003ca href=\"https://www.kqed.org/arts/13952927/zendaya-cal-shakes-north-star-fund-donation\">donated $100,000 to Cal Shakes\u003c/a>, the outdoor theater where she got her start. (On Nov. 1, the 50-year old nonprofit announced it had \u003ca href=\"https://www.kqed.org/arts/13966472/cal-shakes-to-close-down-citing-insurmountable-financial-impasse\">suspended operations\u003c/a> and begun liquidating its assets.)\u003c/p>\n\u003cfigure id=\"attachment_13968410\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968410\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7869.jpg\" alt=\"\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7869.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7869-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7869-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7869-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7869-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7869-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7869-1920x1440.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Zainab Bansfield from San Francisco is announced as the winner of the Zendaya look-alike contest held in Oakland’s Wilma Chan Park on Nov. 20, 2024. \u003ccite>(Riley Cooke/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Wednesday’s contest was the first in the look-alike trend to make a female celebrity its subject. That brought its own set of challenges, Simms said.\u003c/p>\n\u003cp>“There were a lot of talks about misogyny, a lot of people saying not to come because of misogyny, which is totally understandable, and I empathize with a lot,” Simms said. “The anonymity of who I was really affected things because I am a Black woman — I don’t think people expected me to be.”\u003c/p>\n\u003cp>Bansfield and other contestants said they weren’t worried about social media backlash or hate, though.\u003c/p>\n\u003cp>Organizers highlighted mutual aid efforts for Palestine, Sudan and the Congo, and solicited donations for \u003ca href=\"https://eastbayfoodnotbombs.org/\">East Bay Food Not Bombs\u003c/a>, a food justice collective. Bansfield was among those who donated and said she was proud to see that the organizers had made mutual aid a part of the event.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Everybody here was super kind, super beautiful, super nice,” Bansfield said. “The community here is amazing.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Seven contestants stood with their backs to the crowd of onlookers on a chilly, gray afternoon, anxiously awaiting the results of the Zendaya \u003ca href=\"https://www.kqed.org/arts/13968233/lookalike-contest-dev-patel-san-francisco-timothee-chalamet-jeremy-allen-white\">look-alike contest\u003c/a> at Wilma Chan Park in Oakland, the actress’ hometown.\u003c/p>\n\u003cp>Event organizer Cassi Simms slowly walked down the line of potential winners on Wednesday, anticipation building as they passed each hopeful.\u003c/p>\n\u003cp>Just as the rain started up again, Simms reached Zainab Bansfield from San Francisco and tapped her on the shoulder. The crowd of around 60 onlookers erupted in cheers as Bansfield was crowned “Miss Zendaya” with a sash and prize basket.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>She said she didn’t expect to win — partly because she’s a hijabi.\u003c/p>\n\u003cp>“I really thought that the hijab would throw people off,” Bansfield said. “Honestly, I’m really glad that they saw something in me.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Simms said they were judging not just on how much someone looked like Zendaya, but whether they matched her energy and vibe. Most contestants dressed up as different characters from the actress’ career, such as Tashi Duncan from the movie \u003cem>Challengers\u003c/em> and Rue from the HBO series \u003cem>Euphoria\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13968412\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968412\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7852-1.jpg\" alt=\"\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7852-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7852-1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7852-1-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7852-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7852-1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7852-1-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7852-1-1920x1440.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Event organizer Cassi Simms and contestant Zainab Bansfield cheer on Zenayah, an 11-year-old competing in the Zendaya look-alike contest in Oakland’s Wilma Chan Park on Nov. 20, 2024. \u003ccite>(Riley Cooke/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But organizers also put contestants to the test with a dance-off, a catwalk competition and a pop quiz on Zendaya trivia.\u003c/p>\n\u003cp>“I don’t want people to think that it’s only just a beauty contest, because that’s not what it is,” Simms said. “It’s also just a fun thing. It’s just a shitpost at the end of the day.”\u003c/p>\n\u003cp>Several \u003ca href=\"https://www.kqed.org/arts/13968233/lookalike-contest-dev-patel-san-francisco-timothee-chalamet-jeremy-allen-white\">spontaneous celebrity look-alike contests\u003c/a> have cropped up across the country in recent weeks, taking social media by storm. The inaugural competition for Timothée Chalamet doubles in New York City even had a surprise contestant: the actor himself.\u003c/p>\n\u003cp>Earlier this month across the bay, San Franciscans held a contest at Mission Dolores Park to find Dev Patel doppelgängers.\u003c/p>\n\u003cp>Simms took inspiration from these to plan Oakland’s own spin on the trend, getting the word out through flyers and social media. They said Zendaya was the perfect subject because of her upbringing and philanthropy in Oakland. Earlier this year, the actress \u003ca href=\"https://www.kqed.org/arts/13952927/zendaya-cal-shakes-north-star-fund-donation\">donated $100,000 to Cal Shakes\u003c/a>, the outdoor theater where she got her start. (On Nov. 1, the 50-year old nonprofit announced it had \u003ca href=\"https://www.kqed.org/arts/13966472/cal-shakes-to-close-down-citing-insurmountable-financial-impasse\">suspended operations\u003c/a> and begun liquidating its assets.)\u003c/p>\n\u003cfigure id=\"attachment_13968410\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968410\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7869.jpg\" alt=\"\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7869.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7869-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7869-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7869-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7869-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7869-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7869-1920x1440.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Zainab Bansfield from San Francisco is announced as the winner of the Zendaya look-alike contest held in Oakland’s Wilma Chan Park on Nov. 20, 2024. \u003ccite>(Riley Cooke/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Wednesday’s contest was the first in the look-alike trend to make a female celebrity its subject. That brought its own set of challenges, Simms said.\u003c/p>\n\u003cp>“There were a lot of talks about misogyny, a lot of people saying not to come because of misogyny, which is totally understandable, and I empathize with a lot,” Simms said. “The anonymity of who I was really affected things because I am a Black woman — I don’t think people expected me to be.”\u003c/p>\n\u003cp>Bansfield and other contestants said they weren’t worried about social media backlash or hate, though.\u003c/p>\n\u003cp>Organizers highlighted mutual aid efforts for Palestine, Sudan and the Congo, and solicited donations for \u003ca href=\"https://eastbayfoodnotbombs.org/\">East Bay Food Not Bombs\u003c/a>, a food justice collective. Bansfield was among those who donated and said she was proud to see that the organizers had made mutual aid a part of the event.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Everybody here was super kind, super beautiful, super nice,” Bansfield said. “The community here is amazing.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "political-art-2024-trump-presidency",
"title": "What’s the Use of ‘Political Art’ in 2024?",
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"content": "\u003cp>Who could forget the \u003ca href=\"https://www.glamour.com/story/the-story-behind-the-pussyhats-at-the-womens-march\">pussy hats\u003c/a>, the colorful \u003ca href=\"https://www.glamour.com/gallery/how-to-create-the-best-damn-anti-trump-protest-sign-ever-a-complete-guide\">protest banners\u003c/a>, the \u003ca href=\"https://www.kqed.org/pop/33376/so-theres-a-naked-donald-trump-statue-in-the-castro-now-nsfw\">nude statues\u003c/a> and \u003ca href=\"https://www.bbc.com/culture/article/20160518-what-does-the-trumpputin-kiss-really-mean\">subversive murals\u003c/a> of the first Trump administration?\u003c/p>\n\u003cp>Voters, apparently.\u003c/p>\n\u003cp>[aside postID='news_12014032']Despite a surge in art-as-resistance eight years ago — hailed as crucial in the fight to defeat Trump once and for all — America is back where it started in 2016, give or take a few \u003ca href=\"https://apnews.com/article/trump-charlottesville-college-protests-gaza-biden-antisemitism-b19a1ae593b076d5314f08549b1b0d7b\">racist marches\u003c/a>, \u003ca href=\"https://www.npr.org/2024/11/17/nx-s1-5192608/idahos-abortion-ban-one-of-the-strictest-in-the-u-s-is-being-challenged-in-court\">abortion bans\u003c/a> and \u003ca href=\"https://www.npr.org/2024/05/30/1198912466/in-a-historic-verdict-trump-found-guilty-on-34-felony-counts-in-hush-money-trial\">felony counts\u003c/a>.\u003c/p>\n\u003cp>And while the stakes for the future of the country are unquestionably higher this time around, artist reaction has been conspicuously subdued. Not only are activists organizing \u003ca href=\"https://www.kqed.org/news/12014032/dispirited-and-humbled-the-conspicuous-absence-of-bay-area-protests-after-trumps-win\">far fewer protests\u003c/a>, there’s noticeably less anti-Trump art. Yes, even in the Bay Area.\u003c/p>\n\u003cp>How could that be? Well, it depends on who you ask.\u003c/p>\n\u003cfigure id=\"attachment_13968235\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968235\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BrentLindsay.Imaginists.jpg\" alt=\"A man in a black hoodie and tan pants stands among a cluttered studio space, looking up at the camera.\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BrentLindsay.Imaginists.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BrentLindsay.Imaginists-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BrentLindsay.Imaginists-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BrentLindsay.Imaginists-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BrentLindsay.Imaginists-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BrentLindsay.Imaginists-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BrentLindsay.Imaginists-1920x1440.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Brent Lindsay, Artistic Director for the Imaginists Theatre Collective in Santa Rosa, pictured backstage on Nov. 18, 2024. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It feels to me like everyone just got wiped out,” said Brent Lindsay, artistic director of the Imaginists Theatre Collective in Santa Rosa, of the relative quiet from artists, post-election. “Everyone’s just — I don’t know about \u003ci>retreating\u003c/i>, but everyone’s sort of going deep. Having to. And I don’t know what’s on the other side of that.”\u003c/p>\n\u003ch2>A time of reorientation\u003c/h2>\n\u003cp>Lindsay is no stranger to explicitly political art. In 2017, the Imaginists presented \u003ci>Stop That Show!\u003c/i>, a \u003ca href=\"https://theimaginists.org/aimsarchive\">bicycle-powered, bilingual outdoor satire\u003c/a> squarely aimed at the Trump White House. Lindsay played “President Corn,” in a disheveled blonde wig and Russian-branded garb.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It was good in that we all needed to find joy in some darkness, and we all needed to find a way out, shake it off, be entertained,” Lindsay said, acknowledging that the show was more a balm than a weapon of resistance.\u003c/p>\n\u003cp>No one can predict exactly what the next four years will bring from the arts sector. But Lindsay believes that alongside explicitly political art, the world may see more politically informed work based in storytelling and emotional resonance.\u003c/p>\n\u003cp>“You need both,” Lindsay said. “We need the bombastic, the in-your-face, the revolutionary. And this may be a silly analogy, but we need the bunny slope. Because we need new people coming and trying it, and working their way up.”\u003c/p>\n\u003cfigure id=\"attachment_13887378\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13887378\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/WKamauBell.MAIN_.JohnNowackCNN.jpg\" alt=\"W. Kamau Bell\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/WKamauBell.MAIN_.JohnNowackCNN.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/WKamauBell.MAIN_.JohnNowackCNN-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/WKamauBell.MAIN_.JohnNowackCNN-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/WKamauBell.MAIN_.JohnNowackCNN-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/WKamauBell.MAIN_.JohnNowackCNN-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/WKamauBell.MAIN_.JohnNowackCNN-1536x864.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">W. Kamau Bell in 2020. \u003ccite>(John Nowack/CNN)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At \u003ca href=\"https://oaklandside.org/culture-makers/\">Oaklandside’s Culture Makers\u003c/a> panel on Nov. 14, comedian W. Kamau Bell, who endorsed Kamala Harris, was optimistic about the next era of direct political art.\u003c/p>\n\u003cp>“There’s going to be a type of artist now who’s going to be much more clear than they were in the past,” Bell said. “It’s an invitation to be much more clear on what the message is, what your goals are, to have art that actually points towards the change. I think it’s going to be a wave of really classic-era, political [art] — the right side of propaganda, pointing to the right side of history.”\u003c/p>\n\u003cp>Bell’s friend and colleague Favianna Rodriguez is the founder of the \u003ca href=\"https://www.culturalpower.org/\">Center for Cultural Power\u003c/a>, an organization that supports artists and arms people with artistic tools for resistance. In 2017, in opposition to Trump’s Muslim ban, Rodriguez’s series \u003ci>\u003ca href=\"https://favianna.com/artworks/migration-is-beautiful-2018?\">Migration Is Beautiful\u003c/a>\u003c/i> surged in visibility. Climate justice and reproductive rights have also been prominent themes in her work.\u003c/p>\n\u003cp>“I have seen both a moment of reflection, and a moment of reorientation,” Rodriguez said of the weeks following the election. “Our response as artists is going to take some time for us to get organized. But I do trust that artists are going to rise up and create work, and be angry and bold.”\u003c/p>\n\u003cfigure id=\"attachment_13881312\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13881312\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/ClimateWoke2019_brookeanderson-42.jpg\" alt=\"Woman in red outfit with microphone\" width=\"1920\" height=\"1282\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/ClimateWoke2019_brookeanderson-42.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/ClimateWoke2019_brookeanderson-42-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/ClimateWoke2019_brookeanderson-42-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/ClimateWoke2019_brookeanderson-42-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/ClimateWoke2019_brookeanderson-42-1020x681.jpg 1020w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Favianna Rodriguez speaking in 2020. \u003ccite>(Brooke Anderson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Artists, Rodriguez asserts, have the power to change cultural narratives, which in turn shape political narratives.\u003c/p>\n\u003cp>“We can show the humanity,” she says. “We can help normalize things that were once seen as rare. We can help tell human stories that move people’s hearts.”\u003c/p>\n\u003ch2>‘Not just an attack against Trump’\u003c/h2>\n\u003cp>Pianist, hip-hop artist and member of Oakland’s Cultural Affairs Commission Kev Choice says he’s angry and disappointed about Trump winning the presidency. He’s also contending with how many in his community — people who care about social justice and want an end to U.S. military aid to Israel — disengaged from the election.\u003c/p>\n\u003cp>[aside postID='arts_13967557']He sees a disillusionment with the Democratic party’s role in the devastation in Gaza, as well as with the two-party system. Choice was just as disappointed with Trump’s victory as he was with progressive propositions, like rent control, failing in California.\u003c/p>\n\u003cp>“I’ve been sitting with how to address it on all fronts, not just an attack against Trump, but just our general engagement in politics and how we can be more impactful — and have just honest conversations about what it means to even be engaged,” he says.\u003c/p>\n\u003cfigure id=\"attachment_13964204\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13964204\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240912-KEVCHOICE-22-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240912-KEVCHOICE-22-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240912-KEVCHOICE-22-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240912-KEVCHOICE-22-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240912-KEVCHOICE-22-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240912-KEVCHOICE-22-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240912-KEVCHOICE-22-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240912-KEVCHOICE-22-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Kev Choice plays the piano at his studio in Oakland on Sept. 12, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Choice says he’s working on a song that airs out his community’s disappointment and grief over the election results, but he’s also looking beyond music. “Music is one thing, but supporting grassroots organizations to get people to register to vote, who will get people to campaign for certain measures or props — the day to day things that it takes to win a campaign,” he says. “It’s not always the flashy notoriety, like being on TV or releasing a song. It’s phone banking, canvassing, calling, traveling to other areas — and also bringing up those issues constantly in the art that we create.”\u003c/p>\n\u003cp>Filmmaker Josh Healey has advocated for a permanent ceasefire in Gaza with his podcast, \u003ca href=\"https://www.offsidesproductions.org/portfolio/friday-night-semites/\">Friday Night Semites\u003c/a>, and organizing with Jewish Voice for Peace and beyond. His work, including the comedy series \u003ci>The North Pole\u003c/i>, has also addressed class issues such as gentrification.\u003c/p>\n\u003cp>“I think the next couple of years we are going to see — and some of the people in this room are going to make — some of the dopest and most powerful art we’ve seen,” Healey said at Oaklandside’s Culture Makers panel.\u003c/p>\n\u003cfigure id=\"attachment_13808051\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13808051\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ErickaJosh.jpg\" alt=\"woman and man pose with polar bear\" width=\"2048\" height=\"1367\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ErickaJosh.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ErickaJosh-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ErickaJosh-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ErickaJosh-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ErickaJosh-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ErickaJosh-1920x1282.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ErickaJosh-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ErickaJosh-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ErickaJosh-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ErickaJosh-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ErickaJosh-520x347.jpg 520w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Ericka Huggins and producer Josh Healy at the premiere for ‘The North Pole’ at the Grand Lake Theater in Oakland, Sept. 7, 2017. \u003ccite>(Brooke Anderson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Where I’m at as a filmmaker is not just ‘fuck Trump’ and whatever local billionaires are running these campaigns,” he continued, “but also, Hollywood is done. And I’m ready to actually celebrate that. And what I mean by that is not the death of filmmaking, but the death of capitalist, consumerist — the normalization. So many of the stories of what is normalized comes from arts and culture. And so that is my responsibility, and our responsibility.”\u003c/p>\n\u003ch2>Artists shifting to the right\u003c/h2>\n\u003cp>Supporting Trump was more taboo among artists during his first administration, but with rappers like Kanye West, Sexyy Red, Kodak Black and Azealia Banks backing Trump, some observers see a rightward turn in the entertainment industry.\u003c/p>\n\u003cfigure id=\"attachment_13968405\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968405\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/maddy-clifford.jpg\" alt=\"\" width=\"1000\" height=\"667\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/maddy-clifford.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/maddy-clifford-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/maddy-clifford-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/maddy-clifford-768x512.jpg 768w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">Hip-hop artist, writer and TikTok creator Maddy Clifford organizes for student debt abolition with Debt Collective. \u003ccite>(Courtesy Vanessa 'AGANA' Espinoza)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the Culture Makers panel, hip-hop artist and organizer Maddy Clifford, who campaigns for student debt abolition with Debt Collective, talked about this shift.\u003c/p>\n\u003cp>“I think a lot of the country will go to the right, let’s be honest about that,” said Clifford, who has contributed to KQED as a cultural critic. “And so it’s going to be more important than ever for us to be really righteous and really stand in our solid values, because there’s going to be a lot of pressure to basically sell out, straight up.” [aside postID='arts_13930867']\u003c/p>\n\u003cp>Clifford looked beyond Trump’s candidacy — which made gains with young men — and pointed towards conservative trends in culture, name-checking social media movements that promote conservative gender roles and normalize misogyny. “People are like, ‘How did this happen?’” she said. “Well, what about trad wife content? What about the manosphere? This has been happening for a long time.”\u003c/p>\n\u003ch2>Déjà vu\u003c/h2>\n\u003cp>”We’ve been here before,” says \u003ca href=\"https://www.angelahennessy.com/\">Angela Hennessy\u003c/a>, an Oakland visual artist and California College of the Arts professor. Hennessy, whose work will be shown at the San Francisco Museum of Modern Art in the \u003ca href=\"https://www.kqed.org/arts/13955864/sfmoma-2024-seca-art-award-announcement\">2024 SECA Art Award Exhibition\u003c/a>, says this is déjà vu.\u003c/p>\n\u003cp>She’s more surprised that people are surprised. “This \u003ci>is\u003c/i> America,” Hennessy wrote in an email to KQED.\u003c/p>\n\u003cfigure id=\"attachment_13812676\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13812676\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RZO4135_1200.jpg\" alt=\"Angela Hennessy, 'Black Rainbow,' 2017.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RZO4135_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RZO4135_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RZO4135_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RZO4135_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RZO4135_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RZO4135_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RZO4135_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RZO4135_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RZO4135_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RZO4135_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Angela Hennessy, ‘Black Rainbow,’ 2017. \u003ccite>(Courtesy of the artist and Southern Exposure; photo by Raheleh (Minoosh) Zomorodinia)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[aside postID='arts_13955864']Hennessy, a survivor of gun violence, uses hair weaving and braiding in her artwork as she navigates the connections between loss and liberation, death and despair, grieving and growing. She says that given her subject matter, her art is always political. And in this moment, Hennessy wrote, “My work can be seen as responding to the death machine that is our country.”\u003c/p>\n\u003cp>Hennessy asks people to read beyond the \u003ca href=\"https://www.thenation.com/article/archive/no-place-self-pity-no-room-fear/\">popular Toni Morrison quote\u003c/a>, “This is precisely the time when artists go to work,” and see that the late author was making the connection between chaos and the potential of art as a kind of wisdom.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>In this moment, “the opportunity,” Hennessy wrote, “is to be more brave, more unapologetic and articulate in knowing what we know. To make art, music, poetry, etc. as if something was at stake.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Who could forget the \u003ca href=\"https://www.glamour.com/story/the-story-behind-the-pussyhats-at-the-womens-march\">pussy hats\u003c/a>, the colorful \u003ca href=\"https://www.glamour.com/gallery/how-to-create-the-best-damn-anti-trump-protest-sign-ever-a-complete-guide\">protest banners\u003c/a>, the \u003ca href=\"https://www.kqed.org/pop/33376/so-theres-a-naked-donald-trump-statue-in-the-castro-now-nsfw\">nude statues\u003c/a> and \u003ca href=\"https://www.bbc.com/culture/article/20160518-what-does-the-trumpputin-kiss-really-mean\">subversive murals\u003c/a> of the first Trump administration?\u003c/p>\n\u003cp>Voters, apparently.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Despite a surge in art-as-resistance eight years ago — hailed as crucial in the fight to defeat Trump once and for all — America is back where it started in 2016, give or take a few \u003ca href=\"https://apnews.com/article/trump-charlottesville-college-protests-gaza-biden-antisemitism-b19a1ae593b076d5314f08549b1b0d7b\">racist marches\u003c/a>, \u003ca href=\"https://www.npr.org/2024/11/17/nx-s1-5192608/idahos-abortion-ban-one-of-the-strictest-in-the-u-s-is-being-challenged-in-court\">abortion bans\u003c/a> and \u003ca href=\"https://www.npr.org/2024/05/30/1198912466/in-a-historic-verdict-trump-found-guilty-on-34-felony-counts-in-hush-money-trial\">felony counts\u003c/a>.\u003c/p>\n\u003cp>And while the stakes for the future of the country are unquestionably higher this time around, artist reaction has been conspicuously subdued. Not only are activists organizing \u003ca href=\"https://www.kqed.org/news/12014032/dispirited-and-humbled-the-conspicuous-absence-of-bay-area-protests-after-trumps-win\">far fewer protests\u003c/a>, there’s noticeably less anti-Trump art. Yes, even in the Bay Area.\u003c/p>\n\u003cp>How could that be? Well, it depends on who you ask.\u003c/p>\n\u003cfigure id=\"attachment_13968235\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968235\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BrentLindsay.Imaginists.jpg\" alt=\"A man in a black hoodie and tan pants stands among a cluttered studio space, looking up at the camera.\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BrentLindsay.Imaginists.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BrentLindsay.Imaginists-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BrentLindsay.Imaginists-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BrentLindsay.Imaginists-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BrentLindsay.Imaginists-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BrentLindsay.Imaginists-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BrentLindsay.Imaginists-1920x1440.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Brent Lindsay, Artistic Director for the Imaginists Theatre Collective in Santa Rosa, pictured backstage on Nov. 18, 2024. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It feels to me like everyone just got wiped out,” said Brent Lindsay, artistic director of the Imaginists Theatre Collective in Santa Rosa, of the relative quiet from artists, post-election. “Everyone’s just — I don’t know about \u003ci>retreating\u003c/i>, but everyone’s sort of going deep. Having to. And I don’t know what’s on the other side of that.”\u003c/p>\n\u003ch2>A time of reorientation\u003c/h2>\n\u003cp>Lindsay is no stranger to explicitly political art. In 2017, the Imaginists presented \u003ci>Stop That Show!\u003c/i>, a \u003ca href=\"https://theimaginists.org/aimsarchive\">bicycle-powered, bilingual outdoor satire\u003c/a> squarely aimed at the Trump White House. Lindsay played “President Corn,” in a disheveled blonde wig and Russian-branded garb.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It was good in that we all needed to find joy in some darkness, and we all needed to find a way out, shake it off, be entertained,” Lindsay said, acknowledging that the show was more a balm than a weapon of resistance.\u003c/p>\n\u003cp>No one can predict exactly what the next four years will bring from the arts sector. But Lindsay believes that alongside explicitly political art, the world may see more politically informed work based in storytelling and emotional resonance.\u003c/p>\n\u003cp>“You need both,” Lindsay said. “We need the bombastic, the in-your-face, the revolutionary. And this may be a silly analogy, but we need the bunny slope. Because we need new people coming and trying it, and working their way up.”\u003c/p>\n\u003cfigure id=\"attachment_13887378\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13887378\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/WKamauBell.MAIN_.JohnNowackCNN.jpg\" alt=\"W. Kamau Bell\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/WKamauBell.MAIN_.JohnNowackCNN.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/WKamauBell.MAIN_.JohnNowackCNN-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/WKamauBell.MAIN_.JohnNowackCNN-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/WKamauBell.MAIN_.JohnNowackCNN-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/WKamauBell.MAIN_.JohnNowackCNN-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/WKamauBell.MAIN_.JohnNowackCNN-1536x864.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">W. Kamau Bell in 2020. \u003ccite>(John Nowack/CNN)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At \u003ca href=\"https://oaklandside.org/culture-makers/\">Oaklandside’s Culture Makers\u003c/a> panel on Nov. 14, comedian W. Kamau Bell, who endorsed Kamala Harris, was optimistic about the next era of direct political art.\u003c/p>\n\u003cp>“There’s going to be a type of artist now who’s going to be much more clear than they were in the past,” Bell said. “It’s an invitation to be much more clear on what the message is, what your goals are, to have art that actually points towards the change. I think it’s going to be a wave of really classic-era, political [art] — the right side of propaganda, pointing to the right side of history.”\u003c/p>\n\u003cp>Bell’s friend and colleague Favianna Rodriguez is the founder of the \u003ca href=\"https://www.culturalpower.org/\">Center for Cultural Power\u003c/a>, an organization that supports artists and arms people with artistic tools for resistance. In 2017, in opposition to Trump’s Muslim ban, Rodriguez’s series \u003ci>\u003ca href=\"https://favianna.com/artworks/migration-is-beautiful-2018?\">Migration Is Beautiful\u003c/a>\u003c/i> surged in visibility. Climate justice and reproductive rights have also been prominent themes in her work.\u003c/p>\n\u003cp>“I have seen both a moment of reflection, and a moment of reorientation,” Rodriguez said of the weeks following the election. “Our response as artists is going to take some time for us to get organized. But I do trust that artists are going to rise up and create work, and be angry and bold.”\u003c/p>\n\u003cfigure id=\"attachment_13881312\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13881312\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/ClimateWoke2019_brookeanderson-42.jpg\" alt=\"Woman in red outfit with microphone\" width=\"1920\" height=\"1282\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/ClimateWoke2019_brookeanderson-42.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/ClimateWoke2019_brookeanderson-42-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/ClimateWoke2019_brookeanderson-42-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/ClimateWoke2019_brookeanderson-42-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/ClimateWoke2019_brookeanderson-42-1020x681.jpg 1020w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Favianna Rodriguez speaking in 2020. \u003ccite>(Brooke Anderson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Artists, Rodriguez asserts, have the power to change cultural narratives, which in turn shape political narratives.\u003c/p>\n\u003cp>“We can show the humanity,” she says. “We can help normalize things that were once seen as rare. We can help tell human stories that move people’s hearts.”\u003c/p>\n\u003ch2>‘Not just an attack against Trump’\u003c/h2>\n\u003cp>Pianist, hip-hop artist and member of Oakland’s Cultural Affairs Commission Kev Choice says he’s angry and disappointed about Trump winning the presidency. He’s also contending with how many in his community — people who care about social justice and want an end to U.S. military aid to Israel — disengaged from the election.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>He sees a disillusionment with the Democratic party’s role in the devastation in Gaza, as well as with the two-party system. Choice was just as disappointed with Trump’s victory as he was with progressive propositions, like rent control, failing in California.\u003c/p>\n\u003cp>“I’ve been sitting with how to address it on all fronts, not just an attack against Trump, but just our general engagement in politics and how we can be more impactful — and have just honest conversations about what it means to even be engaged,” he says.\u003c/p>\n\u003cfigure id=\"attachment_13964204\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13964204\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240912-KEVCHOICE-22-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240912-KEVCHOICE-22-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240912-KEVCHOICE-22-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240912-KEVCHOICE-22-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240912-KEVCHOICE-22-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240912-KEVCHOICE-22-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240912-KEVCHOICE-22-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240912-KEVCHOICE-22-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Kev Choice plays the piano at his studio in Oakland on Sept. 12, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Choice says he’s working on a song that airs out his community’s disappointment and grief over the election results, but he’s also looking beyond music. “Music is one thing, but supporting grassroots organizations to get people to register to vote, who will get people to campaign for certain measures or props — the day to day things that it takes to win a campaign,” he says. “It’s not always the flashy notoriety, like being on TV or releasing a song. It’s phone banking, canvassing, calling, traveling to other areas — and also bringing up those issues constantly in the art that we create.”\u003c/p>\n\u003cp>Filmmaker Josh Healey has advocated for a permanent ceasefire in Gaza with his podcast, \u003ca href=\"https://www.offsidesproductions.org/portfolio/friday-night-semites/\">Friday Night Semites\u003c/a>, and organizing with Jewish Voice for Peace and beyond. His work, including the comedy series \u003ci>The North Pole\u003c/i>, has also addressed class issues such as gentrification.\u003c/p>\n\u003cp>“I think the next couple of years we are going to see — and some of the people in this room are going to make — some of the dopest and most powerful art we’ve seen,” Healey said at Oaklandside’s Culture Makers panel.\u003c/p>\n\u003cfigure id=\"attachment_13808051\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13808051\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ErickaJosh.jpg\" alt=\"woman and man pose with polar bear\" width=\"2048\" height=\"1367\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ErickaJosh.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ErickaJosh-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ErickaJosh-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ErickaJosh-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ErickaJosh-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ErickaJosh-1920x1282.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ErickaJosh-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ErickaJosh-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ErickaJosh-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ErickaJosh-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ErickaJosh-520x347.jpg 520w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Ericka Huggins and producer Josh Healy at the premiere for ‘The North Pole’ at the Grand Lake Theater in Oakland, Sept. 7, 2017. \u003ccite>(Brooke Anderson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Where I’m at as a filmmaker is not just ‘fuck Trump’ and whatever local billionaires are running these campaigns,” he continued, “but also, Hollywood is done. And I’m ready to actually celebrate that. And what I mean by that is not the death of filmmaking, but the death of capitalist, consumerist — the normalization. So many of the stories of what is normalized comes from arts and culture. And so that is my responsibility, and our responsibility.”\u003c/p>\n\u003ch2>Artists shifting to the right\u003c/h2>\n\u003cp>Supporting Trump was more taboo among artists during his first administration, but with rappers like Kanye West, Sexyy Red, Kodak Black and Azealia Banks backing Trump, some observers see a rightward turn in the entertainment industry.\u003c/p>\n\u003cfigure id=\"attachment_13968405\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968405\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/maddy-clifford.jpg\" alt=\"\" width=\"1000\" height=\"667\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/maddy-clifford.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/maddy-clifford-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/maddy-clifford-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/maddy-clifford-768x512.jpg 768w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">Hip-hop artist, writer and TikTok creator Maddy Clifford organizes for student debt abolition with Debt Collective. \u003ccite>(Courtesy Vanessa 'AGANA' Espinoza)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the Culture Makers panel, hip-hop artist and organizer Maddy Clifford, who campaigns for student debt abolition with Debt Collective, talked about this shift.\u003c/p>\n\u003cp>“I think a lot of the country will go to the right, let’s be honest about that,” said Clifford, who has contributed to KQED as a cultural critic. “And so it’s going to be more important than ever for us to be really righteous and really stand in our solid values, because there’s going to be a lot of pressure to basically sell out, straight up.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Clifford looked beyond Trump’s candidacy — which made gains with young men — and pointed towards conservative trends in culture, name-checking social media movements that promote conservative gender roles and normalize misogyny. “People are like, ‘How did this happen?’” she said. “Well, what about trad wife content? What about the manosphere? This has been happening for a long time.”\u003c/p>\n\u003ch2>Déjà vu\u003c/h2>\n\u003cp>”We’ve been here before,” says \u003ca href=\"https://www.angelahennessy.com/\">Angela Hennessy\u003c/a>, an Oakland visual artist and California College of the Arts professor. Hennessy, whose work will be shown at the San Francisco Museum of Modern Art in the \u003ca href=\"https://www.kqed.org/arts/13955864/sfmoma-2024-seca-art-award-announcement\">2024 SECA Art Award Exhibition\u003c/a>, says this is déjà vu.\u003c/p>\n\u003cp>She’s more surprised that people are surprised. “This \u003ci>is\u003c/i> America,” Hennessy wrote in an email to KQED.\u003c/p>\n\u003cfigure id=\"attachment_13812676\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13812676\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RZO4135_1200.jpg\" alt=\"Angela Hennessy, 'Black Rainbow,' 2017.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RZO4135_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RZO4135_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RZO4135_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RZO4135_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RZO4135_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RZO4135_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RZO4135_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RZO4135_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RZO4135_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RZO4135_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Angela Hennessy, ‘Black Rainbow,’ 2017. \u003ccite>(Courtesy of the artist and Southern Exposure; photo by Raheleh (Minoosh) Zomorodinia)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Hennessy, a survivor of gun violence, uses hair weaving and braiding in her artwork as she navigates the connections between loss and liberation, death and despair, grieving and growing. She says that given her subject matter, her art is always political. And in this moment, Hennessy wrote, “My work can be seen as responding to the death machine that is our country.”\u003c/p>\n\u003cp>Hennessy asks people to read beyond the \u003ca href=\"https://www.thenation.com/article/archive/no-place-self-pity-no-room-fear/\">popular Toni Morrison quote\u003c/a>, “This is precisely the time when artists go to work,” and see that the late author was making the connection between chaos and the potential of art as a kind of wisdom.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In this moment, “the opportunity,” Hennessy wrote, “is to be more brave, more unapologetic and articulate in knowing what we know. To make art, music, poetry, etc. as if something was at stake.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Saafir, the raspy-voiced Oakland rapper who infused the rhythms of avant-garde jazz into his rhymes, died on Tuesday morning, according to family. He was 54.\u003c/p>\n\u003cp>A joint \u003ca href=\"https://www.instagram.com/p/DCj_iNlS5aE/\">Instagram post\u003c/a> by the rapper Xzibit and Saafir’s son explained that the rapper born Reggie Gibson died at 8:45 a.m., surrounded by friends and family.\u003c/p>\n\u003cp>“We surrounded him and let him know how much we loved him,” the post read. “He can rest now.”\u003c/p>\n\u003cp>No cause of death was announced. Saafir had long struggled with complications from a spinal surgery and other health problems.\u003c/p>\n\u003cfigure id=\"attachment_13968341\" class=\"wp-caption aligncenter\" style=\"max-width: 1122px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968341\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Saafir.jpg\" alt=\"\" width=\"1122\" height=\"1244\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Saafir.jpg 1122w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Saafir-800x887.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Saafir-1020x1131.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Saafir-160x177.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Saafir-768x852.jpg 768w\" sizes=\"(max-width: 1122px) 100vw, 1122px\">\u003cfigcaption class=\"wp-caption-text\">Saafir.\u003c/figcaption>\u003c/figure>\n\u003cp>With his early 1990s hip-hop group Hobo Junction, Saafir made a name for himself as a lyrically dextrous and inventive rapper with a distinct, guttural style. He is remembered by hip-hop fans nationwide, and especially in the Bay Area, for incandescently propelling a \u003ca href=\"https://www.kqed.org/arts/13924170/the-bay-area-rap-battle-heard-round-the-world\">legendary 1994 on-air freestyle battle\u003c/a> between his Hobo Junction crew and fellow East Bay collective Hieroglyphics that lasted more than 40 minutes.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Saafir spent his early teenage years in and out of group homes in Oakland, with at least one stint in jail. Inspired by early rappers like Too Short and LL Cool J, he began writing raps and developing a cadence that frequently avoided the downbeat.\u003c/p>\n\u003cp>While working with \u003ca href=\"https://www.kqed.org/arts/tag/digital-underground\">Digital Underground\u003c/a>, Saafir was onetime roommates with \u003ca href=\"https://www.kqed.org/arts/tag/tupac-shakur\">Tupac Shakur\u003c/a>, who introduced the West Oakland-bred young talent to Hollywood movie directors Albert and Allen Hughes. Saafir appeared in their 1993 film \u003cem>Menace II Society\u003c/em> as the character cousin Harold.\u003c/p>\n\u003cp>Before long, Saafir was offered a major record deal from music industry titan Quincy Jones. The resulting album, \u003cem>Boxcar Sessions\u003c/em>, bridged the dynamism of jazz innovators like Eric Dolphy and Andrew Hill with the streetwise sounds and themes of crack-era Oakland. To celebrate its release, Saafir performed a \u003ca href=\"https://www.youtube.com/watch?v=ww82T3UmSEU\">free show\u003c/a> in front of Leopold’s Records, just off Telegraph Avenue in Berkeley, where Hobo Junction first began selling underground tapes.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=lfQWH8QsNjA\u003c/p>\n\u003cp>Only a handful of albums followed. In 2013, on the blog of hip-hop historian Davey D, Shock G from Digital Underground explained Saafir’s absence from the scene in a \u003ca href=\"https://hiphopandpolitics.com/2013/02/12/shock-g-of-digital-underground-explains-why-saafir-is-bound-to-a-wheelchair/\">sprawling list of accidents, afflictions and obstacles\u003c/a> that went viral among diehard fans. Saafir later clarified parts of Shock G’s recollection in an interview with the \u003ca href=\"https://sfbgarchive.48hills.org/sfbgarchive/2013/03/27/reality-rap-qa-saafir-saucee-nomad/\">\u003cem>San Francisco Bay Guardian\u003c/em>\u003c/a>, where he detailed the challenges of navigating the healthcare system.\u003c/p>\n\u003cp>[aside postID='arts_13924170']Saafir, who used a wheelchair after his spinal surgery, made very few public appearances over the past 15 years. He often made an exception, however, for \u003ca href=\"https://www.kqed.org/arts/13863999/dream-day-2019-celebrating-mike-dream-franciscos-50th-birthday\">Dream Day\u003c/a> — an annual tribute to his late friend and graffiti artist \u003ca href=\"https://www.kqed.org/arts/10141391/dream-but-dont-sleep-remembering-mike-dream-francisco\">Mike “Dream” Francisco\u003c/a>. In 2014, he appeared onstage in San Francisco to perform his hit “Light Sleeper,” supported by the show’s headliner and his former battle nemesis from Hieroglyphics, Casual.\u003c/p>\n\u003cp>Though their famous freestyle battle hosted by Sway on KMEL’s \u003cem>The Wake Up Show\u003c/em> painted Saafir and Casual as enemies in the public imagination, the two retained their respect for each other.\u003c/p>\n\u003cp>In a short documentary, \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=QC7OtfYxDaQ\">The Battle\u003c/a>\u003c/em>, Saafir commended Casual: “You really brought out the best. You made me wanna be a monster, and I respect it.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Saafir is survived by a son — the rapper known as Lil Saafir — and a brother. No services have yet been announced.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Saafir, the raspy-voiced Oakland rapper who infused the rhythms of avant-garde jazz into his rhymes, died on Tuesday morning, according to family. He was 54.\u003c/p>\n\u003cp>A joint \u003ca href=\"https://www.instagram.com/p/DCj_iNlS5aE/\">Instagram post\u003c/a> by the rapper Xzibit and Saafir’s son explained that the rapper born Reggie Gibson died at 8:45 a.m., surrounded by friends and family.\u003c/p>\n\u003cp>“We surrounded him and let him know how much we loved him,” the post read. “He can rest now.”\u003c/p>\n\u003cp>No cause of death was announced. Saafir had long struggled with complications from a spinal surgery and other health problems.\u003c/p>\n\u003cfigure id=\"attachment_13968341\" class=\"wp-caption aligncenter\" style=\"max-width: 1122px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968341\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Saafir.jpg\" alt=\"\" width=\"1122\" height=\"1244\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Saafir.jpg 1122w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Saafir-800x887.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Saafir-1020x1131.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Saafir-160x177.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Saafir-768x852.jpg 768w\" sizes=\"(max-width: 1122px) 100vw, 1122px\">\u003cfigcaption class=\"wp-caption-text\">Saafir.\u003c/figcaption>\u003c/figure>\n\u003cp>With his early 1990s hip-hop group Hobo Junction, Saafir made a name for himself as a lyrically dextrous and inventive rapper with a distinct, guttural style. He is remembered by hip-hop fans nationwide, and especially in the Bay Area, for incandescently propelling a \u003ca href=\"https://www.kqed.org/arts/13924170/the-bay-area-rap-battle-heard-round-the-world\">legendary 1994 on-air freestyle battle\u003c/a> between his Hobo Junction crew and fellow East Bay collective Hieroglyphics that lasted more than 40 minutes.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Saafir spent his early teenage years in and out of group homes in Oakland, with at least one stint in jail. Inspired by early rappers like Too Short and LL Cool J, he began writing raps and developing a cadence that frequently avoided the downbeat.\u003c/p>\n\u003cp>While working with \u003ca href=\"https://www.kqed.org/arts/tag/digital-underground\">Digital Underground\u003c/a>, Saafir was onetime roommates with \u003ca href=\"https://www.kqed.org/arts/tag/tupac-shakur\">Tupac Shakur\u003c/a>, who introduced the West Oakland-bred young talent to Hollywood movie directors Albert and Allen Hughes. Saafir appeared in their 1993 film \u003cem>Menace II Society\u003c/em> as the character cousin Harold.\u003c/p>\n\u003cp>Before long, Saafir was offered a major record deal from music industry titan Quincy Jones. The resulting album, \u003cem>Boxcar Sessions\u003c/em>, bridged the dynamism of jazz innovators like Eric Dolphy and Andrew Hill with the streetwise sounds and themes of crack-era Oakland. To celebrate its release, Saafir performed a \u003ca href=\"https://www.youtube.com/watch?v=ww82T3UmSEU\">free show\u003c/a> in front of Leopold’s Records, just off Telegraph Avenue in Berkeley, where Hobo Junction first began selling underground tapes.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/lfQWH8QsNjA'\n title='//www.youtube.com/embed/lfQWH8QsNjA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Only a handful of albums followed. In 2013, on the blog of hip-hop historian Davey D, Shock G from Digital Underground explained Saafir’s absence from the scene in a \u003ca href=\"https://hiphopandpolitics.com/2013/02/12/shock-g-of-digital-underground-explains-why-saafir-is-bound-to-a-wheelchair/\">sprawling list of accidents, afflictions and obstacles\u003c/a> that went viral among diehard fans. Saafir later clarified parts of Shock G’s recollection in an interview with the \u003ca href=\"https://sfbgarchive.48hills.org/sfbgarchive/2013/03/27/reality-rap-qa-saafir-saucee-nomad/\">\u003cem>San Francisco Bay Guardian\u003c/em>\u003c/a>, where he detailed the challenges of navigating the healthcare system.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Saafir, who used a wheelchair after his spinal surgery, made very few public appearances over the past 15 years. He often made an exception, however, for \u003ca href=\"https://www.kqed.org/arts/13863999/dream-day-2019-celebrating-mike-dream-franciscos-50th-birthday\">Dream Day\u003c/a> — an annual tribute to his late friend and graffiti artist \u003ca href=\"https://www.kqed.org/arts/10141391/dream-but-dont-sleep-remembering-mike-dream-francisco\">Mike “Dream” Francisco\u003c/a>. In 2014, he appeared onstage in San Francisco to perform his hit “Light Sleeper,” supported by the show’s headliner and his former battle nemesis from Hieroglyphics, Casual.\u003c/p>\n\u003cp>Though their famous freestyle battle hosted by Sway on KMEL’s \u003cem>The Wake Up Show\u003c/em> painted Saafir and Casual as enemies in the public imagination, the two retained their respect for each other.\u003c/p>\n\u003cp>In a short documentary, \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=QC7OtfYxDaQ\">The Battle\u003c/a>\u003c/em>, Saafir commended Casual: “You really brought out the best. You made me wanna be a monster, and I respect it.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Saafir is survived by a son — the rapper known as Lil Saafir — and a brother. No services have yet been announced.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Today, the \u003ca href=\"https://thecjm.org/\">Contemporary Jewish Museum\u003c/a> announced it would close its galleries to the public on Dec. 15, citing financial difficulties. The closure will last for at least one year while staff, board members and other advisors develop plans for a more financially sustainable future. Staff layoffs will take place in phases over the next several months as the museum shrinks from 30 regular employees to 11.\u003c/p>\n\u003cp>[aside postID='arts_13963960,arts_13959468']With an operating budget of $8.5 million, the CJM is on the smaller side of local museums. Nearby Yerba Buena Center for the Arts has an operating budget of $17.7 million; the San Francisco Museum of Modern Art runs on $91.4 million. CJM tax filings show years of operating deficits; recently, that gap widened to $4.9 million.\u003c/p>\n\u003cp>“Our revenue and expenses have been out of balance for some time,” CJM Executive Director Kerry King told KQED. “And like many institutions, we’ve found one-off ways to solve for that. But that doesn’t really solve the underlying balance situation.”\u003c/p>\n\u003cp>King, who was previously the museum’s chief operating officer and stepped into her current role following \u003ca href=\"https://www.kqed.org/arts/13930607/contemporary-jewish-museum-executive-director-chad-coerver-step-down\">Chad Coerver’s departure in 2023\u003c/a>, referred to the planned closure as a “sabbatical.”\u003c/p>\n\u003cp>“What we don’t want to do is close,” she said.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Today’s announcement cited “a challenging financial landscape, compounded by declining attendance and general support that has not fully recovered since the pandemic.”\u003c/p>\n\u003cp>“There’s no one thing we can point to,” King said of the CJM’s financial struggles. But it was clear to King and the board that this drastic step needed to be taken now, while there was still time to come up with a plan that could shape the museum’s future. \u003c/p>\n\u003cfigure id=\"attachment_13968006\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968006\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/4_GlenCheriton_LeahRosenberg.jpg\" alt=\"colorful chairs and benches in an angular space with colored light cast against walls\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/4_GlenCheriton_LeahRosenberg.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/4_GlenCheriton_LeahRosenberg-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/4_GlenCheriton_LeahRosenberg-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/4_GlenCheriton_LeahRosenberg-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/4_GlenCheriton_LeahRosenberg-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/4_GlenCheriton_LeahRosenberg-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/4_GlenCheriton_LeahRosenberg-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">An installation view of Leah Rosenberg’s ‘When One Sees a Rainbow,’ which was scheduled to remain on view through April 27, 2027. \u003ccite>(Glen Cheriton)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“This decision does not come without significant pain,” King was quoted saying in today’s announcement, “because it will affect our team of extraordinary and deeply dedicated individuals who work tirelessly to fulfill the museum’s mission.”\u003c/p>\n\u003cp>King said everything is on the table during the closure. They’ll be looking at scale, programming and funding sources. (In 2023, contributions accounted for over 70% of the museum’s revenue.) What won’t change, King said, are the museum’s core values.\u003c/p>\n\u003cp>“It continues to be the most important time ever for us to exist,” King said. “And for us to be a voice through the art and through the people that work here … for understanding what Jewish is.”\u003c/p>\n\u003cp>One possible route to balanced books could include relocating to a smaller venue. Founded in 1984 within the Jewish Community Federation of San Francisco on Steuart Street, the CJM opened its current Jessie Square location, a Daniel Libeskind-designed 63,000-square-foot building, in 2008. The museum currently holds a bank loan connected to the building’s construction; that loan is $1.5 million of the museum’s annual expenses.\u003c/p>\n\u003cp>“It’s a very expensive building to own and operate,” King said, citing mechanical and structural maintenance, as well as the cost of keeping the exhibition spaces climate controlled.\u003c/p>\n\u003cp>While the museum does have restricted and unrestricted endowment funds, King said, “A key goal of what we’re undertaking right now is to preserve as much of those assets as we can for our continued way forward.”\u003c/p>\n\u003cp>The CJM’s announcement follows news of steep financial challenges at other local arts and culture institutions. California College of the Arts recently implemented layoffs to address \u003ca href=\"https://www.cca.edu/newsroom/california-college-of-the-arts-implements-staff-layoffs/\">a $20 million deficit\u003c/a>. Earlier this year, Headlands Center for the Arts went into a similar period of “cocooning” after \u003ca href=\"https://www.kqed.org/arts/13951936/headlands-center-for-the-arts-layoffs-fundraising-shortfalls\">laying off over a quarter of its staff\u003c/a>.\u003c/p>\n\u003cp>The Dec. 15 closure at the CJM will cut short all five of the museum’s current exhibitions, which include \u003ci>\u003ca href=\"https://www.kqed.org/arts/13959468/california-jewish-open-cjm-review\">California Jewish Open\u003c/a>\u003c/i>, Nicki Green’s solo \u003ci>\u003ca href=\"https://www.kqed.org/arts/13963960/nicki-green-firmament-contemporary-jewish-museum-review\">Firmament\u003c/a>\u003c/i> and Leah Rosenberg’s long-term installation \u003ci>\u003ca href=\"https://thecjm.org/exhibitions/235\">When One Sees a Rainbow\u003c/a>\u003c/i>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The museum will be open with free admission through Dec. 15 to give audiences a last chance to see the shows.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>With an operating budget of $8.5 million, the CJM is on the smaller side of local museums. Nearby Yerba Buena Center for the Arts has an operating budget of $17.7 million; the San Francisco Museum of Modern Art runs on $91.4 million. CJM tax filings show years of operating deficits; recently, that gap widened to $4.9 million.\u003c/p>\n\u003cp>“Our revenue and expenses have been out of balance for some time,” CJM Executive Director Kerry King told KQED. “And like many institutions, we’ve found one-off ways to solve for that. But that doesn’t really solve the underlying balance situation.”\u003c/p>\n\u003cp>King, who was previously the museum’s chief operating officer and stepped into her current role following \u003ca href=\"https://www.kqed.org/arts/13930607/contemporary-jewish-museum-executive-director-chad-coerver-step-down\">Chad Coerver’s departure in 2023\u003c/a>, referred to the planned closure as a “sabbatical.”\u003c/p>\n\u003cp>“What we don’t want to do is close,” she said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Today’s announcement cited “a challenging financial landscape, compounded by declining attendance and general support that has not fully recovered since the pandemic.”\u003c/p>\n\u003cp>“There’s no one thing we can point to,” King said of the CJM’s financial struggles. But it was clear to King and the board that this drastic step needed to be taken now, while there was still time to come up with a plan that could shape the museum’s future. \u003c/p>\n\u003cfigure id=\"attachment_13968006\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968006\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/4_GlenCheriton_LeahRosenberg.jpg\" alt=\"colorful chairs and benches in an angular space with colored light cast against walls\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/4_GlenCheriton_LeahRosenberg.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/4_GlenCheriton_LeahRosenberg-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/4_GlenCheriton_LeahRosenberg-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/4_GlenCheriton_LeahRosenberg-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/4_GlenCheriton_LeahRosenberg-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/4_GlenCheriton_LeahRosenberg-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/4_GlenCheriton_LeahRosenberg-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">An installation view of Leah Rosenberg’s ‘When One Sees a Rainbow,’ which was scheduled to remain on view through April 27, 2027. \u003ccite>(Glen Cheriton)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“This decision does not come without significant pain,” King was quoted saying in today’s announcement, “because it will affect our team of extraordinary and deeply dedicated individuals who work tirelessly to fulfill the museum’s mission.”\u003c/p>\n\u003cp>King said everything is on the table during the closure. They’ll be looking at scale, programming and funding sources. (In 2023, contributions accounted for over 70% of the museum’s revenue.) What won’t change, King said, are the museum’s core values.\u003c/p>\n\u003cp>“It continues to be the most important time ever for us to exist,” King said. “And for us to be a voice through the art and through the people that work here … for understanding what Jewish is.”\u003c/p>\n\u003cp>One possible route to balanced books could include relocating to a smaller venue. Founded in 1984 within the Jewish Community Federation of San Francisco on Steuart Street, the CJM opened its current Jessie Square location, a Daniel Libeskind-designed 63,000-square-foot building, in 2008. The museum currently holds a bank loan connected to the building’s construction; that loan is $1.5 million of the museum’s annual expenses.\u003c/p>\n\u003cp>“It’s a very expensive building to own and operate,” King said, citing mechanical and structural maintenance, as well as the cost of keeping the exhibition spaces climate controlled.\u003c/p>\n\u003cp>While the museum does have restricted and unrestricted endowment funds, King said, “A key goal of what we’re undertaking right now is to preserve as much of those assets as we can for our continued way forward.”\u003c/p>\n\u003cp>The CJM’s announcement follows news of steep financial challenges at other local arts and culture institutions. California College of the Arts recently implemented layoffs to address \u003ca href=\"https://www.cca.edu/newsroom/california-college-of-the-arts-implements-staff-layoffs/\">a $20 million deficit\u003c/a>. Earlier this year, Headlands Center for the Arts went into a similar period of “cocooning” after \u003ca href=\"https://www.kqed.org/arts/13951936/headlands-center-for-the-arts-layoffs-fundraising-shortfalls\">laying off over a quarter of its staff\u003c/a>.\u003c/p>\n\u003cp>The Dec. 15 closure at the CJM will cut short all five of the museum’s current exhibitions, which include \u003ci>\u003ca href=\"https://www.kqed.org/arts/13959468/california-jewish-open-cjm-review\">California Jewish Open\u003c/a>\u003c/i>, Nicki Green’s solo \u003ci>\u003ca href=\"https://www.kqed.org/arts/13963960/nicki-green-firmament-contemporary-jewish-museum-review\">Firmament\u003c/a>\u003c/i> and Leah Rosenberg’s long-term installation \u003ci>\u003ca href=\"https://thecjm.org/exhibitions/235\">When One Sees a Rainbow\u003c/a>\u003c/i>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The museum will be open with free admission through Dec. 15 to give audiences a last chance to see the shows.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The lineup for the 2025 \u003ca href=\"https://www.kqed.org/arts/tag/festival-la-onda\">Festival La Onda\u003c/a> in Napa has been announced. Headliners at the festival will be \u003cstrong>Marco Antonio Solis, Banda MS\u003c/strong> and \u003cstrong>Pepe Aguilar\u003c/strong> on Saturday, May 31, and \u003cstrong>Carin León\u003c/strong> and \u003cstrong>Grupo Firme\u003c/strong> on Sunday, June 1.\u003c/p>\n\u003cp>Saturday’s lineup at the second annual Latin music festival includes \u003cstrong>Xavi, Tito Double P, Yuridia, Chino Pacas, La Receta, Camila Fernández, Los Aptos, Sonora Tropicana, MAR, Edgar Alejandro\u003c/strong> and \u003cstrong>Christian Nava\u003c/strong>.\u003c/p>\n\u003cp>On Sunday, performers include \u003cstrong>Eden Muñoz, Codiciado, Oscar Maydon, Ángela Aguilar, Clave Especial, Alicia Villarreal, Michelle Maciel, Reyna Tropical, Miguel Cornejo, Erre, Los De La 4, Adriana Ríos\u003c/strong> and \u003cstrong>Ysrael Barajas\u003c/strong>.\u003c/p>\n\u003cp>Both two-day passes and single-day tickets will go on sale Friday, Nov. 15, at noon Pacific Time. General admission tickets begin at $218, with VIP options starting at $448 and up.\u003c/p>\n\u003cfigure id=\"attachment_13959021\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_32.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13959021\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_32.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_32-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_32-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_32-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_32-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_32-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Festival-goers cheer exuberantly at the Verizon Stage as Alejandro Fernández delivers a captivating performance at La Onda festival on Saturday, June 1, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Held the week after the BottleRock Napa Valley music festival on the same festival grounds at the Napa Valley Expo, Festival La Onda specializes in Latin music artists from various genres, including Regional Mexican, Latin Rock and Latin Pop. The festival is produced by BottleRock.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Reviewing \u003ca href=\"https://www.kqed.org/arts/13959079/photos-la-onda-festival-recap-napa\">the inaugural festival in 2024\u003c/a>, KQED’s Carlos Cabrera-Lomeleí wrote, “Perhaps only at Carnaval San Francisco do you see so many young Latinos and families together in one place. Rancheros, rockeros, bichotas, bellacos, homegirls, chavorrucos and more were all in the house.”\u003c/p>\n\u003cp>[aside postID='arts_13959079']With an estimated attendance of 65,000, the two-day festival in June 2024 was hailed as a success in Napa, where the region’s wine industry is dependent on the labor of tens of thousands of Latino and Indigenous workers. \u003c/p>\n\u003cp>The festival also features food, wine, a silent disco, Lucha Libre wrestling, a lowrider showcase and more. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For more, see the \u003ca href=\"https://www.laondafest.com/\">official La Onda festival site\u003c/a>. \u003c/p>\n\n",
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"excerpt": "The Latin music festival returns with Xavi, Tito Double P, Eden Muñoz, Codiciado, Yuridia and many others. ",
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"title": "Festival La Onda 2025 Lineup: Marco Antonio Solis, Carin León, Grupo Firme, Banda MS, More | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The lineup for the 2025 \u003ca href=\"https://www.kqed.org/arts/tag/festival-la-onda\">Festival La Onda\u003c/a> in Napa has been announced. Headliners at the festival will be \u003cstrong>Marco Antonio Solis, Banda MS\u003c/strong> and \u003cstrong>Pepe Aguilar\u003c/strong> on Saturday, May 31, and \u003cstrong>Carin León\u003c/strong> and \u003cstrong>Grupo Firme\u003c/strong> on Sunday, June 1.\u003c/p>\n\u003cp>Saturday’s lineup at the second annual Latin music festival includes \u003cstrong>Xavi, Tito Double P, Yuridia, Chino Pacas, La Receta, Camila Fernández, Los Aptos, Sonora Tropicana, MAR, Edgar Alejandro\u003c/strong> and \u003cstrong>Christian Nava\u003c/strong>.\u003c/p>\n\u003cp>On Sunday, performers include \u003cstrong>Eden Muñoz, Codiciado, Oscar Maydon, Ángela Aguilar, Clave Especial, Alicia Villarreal, Michelle Maciel, Reyna Tropical, Miguel Cornejo, Erre, Los De La 4, Adriana Ríos\u003c/strong> and \u003cstrong>Ysrael Barajas\u003c/strong>.\u003c/p>\n\u003cp>Both two-day passes and single-day tickets will go on sale Friday, Nov. 15, at noon Pacific Time. General admission tickets begin at $218, with VIP options starting at $448 and up.\u003c/p>\n\u003cfigure id=\"attachment_13959021\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_32.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13959021\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_32.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_32-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_32-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_32-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_32-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_32-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Festival-goers cheer exuberantly at the Verizon Stage as Alejandro Fernández delivers a captivating performance at La Onda festival on Saturday, June 1, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Held the week after the BottleRock Napa Valley music festival on the same festival grounds at the Napa Valley Expo, Festival La Onda specializes in Latin music artists from various genres, including Regional Mexican, Latin Rock and Latin Pop. The festival is produced by BottleRock.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>With an estimated attendance of 65,000, the two-day festival in June 2024 was hailed as a success in Napa, where the region’s wine industry is dependent on the labor of tens of thousands of Latino and Indigenous workers. \u003c/p>\n\u003cp>The festival also features food, wine, a silent disco, Lucha Libre wrestling, a lowrider showcase and more. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For more, see the \u003ca href=\"https://www.laondafest.com/\">official La Onda festival site\u003c/a>. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Bay Area Grammy Nominees: Sheila E., Ambrose Akinmusire, Green Day, More",
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"content": "\u003cp>The Recording Academy announced the nominees for the 2025 Grammy Awards on Friday, led by an outstanding 11 nominations for the winningest artist in history herself, Beyoncé.\u003c/p>\n\u003cp>More than a few Bay Area artists managed to nab nominations across the 94 award categories, with Green Day and Kehlani scoring 3 nominations each and Sheila E., Taj Mahal and the San Francisco Symphony each landing a pair.\u003c/p>\n\u003cp>The winners of the 67th Grammy Awards will be announced on Feb. 2, 2025, before and during the televised ceremony.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/green-day\">Green Day\u003c/a>, the five-time Grammy-winning pop-punk band \u003ca href=\"https://www.kqed.org/news/12005849/pinole-honors-punk-icons-green-day-with-key-to-the-city\">recently honored in Pinole\u003c/a> with a key to the city, earned three nominations in the rock genre categories after their last two albums were overlooked. \u003cem>Saviors\u003c/em>, the band’s fourteenth studio album, landed a nomination for Best Rock Album. Two of its singles, “The American Dream Is Killing Me” and “Dilemma,” were recognized in Best Rock Performance and Best Rock Song categories, bringing the band’s all-time total to a staggering 20 nominations.\u003c/p>\n\u003cfigure id=\"attachment_13957856\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1638215938-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1688\" class=\"size-full wp-image-13957856\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1638215938-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1638215938-800x527.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1638215938-1020x673.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1638215938-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1638215938-768x506.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1638215938-1536x1013.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1638215938-2048x1350.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1638215938-1920x1266.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Kehlani performs during the Sol Blume Music festival at Discovery Park on August 20, 2023 in Sacramento, California. \u003ccite>(Tim Mosenfelder/WireImage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Oakland’s own \u003ca href=\"https://www.kqed.org/arts/tag/kehlani\">Kehlani\u003c/a>, who still proudly reps the Bay despite relocating to Los Angeles, scored three nominations as well. The R&B superstar, whose homecoming show at Chase Center last week featured surprise appearances from LaRussell, Mistah F.A.B. and Kamaiyah, found success with her latest studio album \u003cem>Crash\u003c/em>. The album was nominated in the Best Progressive R&B Album category, while its lead single, “After Hours,” landed in the Best R&B Song category. In addition, Kehlani’s featured role in the remixed version of British rapper Jordan Adetunji’s song “KEHLANI,” dedicated to the star, earned her a spot in the Best Melodic Rap Performance category. Yes, that’s right — Kehlani got a nomination for a song named after her.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Another Oakland artist picking up multiple nominations is \u003ca href=\"https://www.kqed.org/arts/13966525/sheila-e-tiny-desk-concert-npr-bailar\">Sheila E.\u003c/a>, who, alongside her father, percussionist Pete Escovedo, was awarded the Latin Grammy Lifetime Achievement Award in 2021. This year, her album \u003cem>Bailar\u003c/em> is nominated for Best Tropical Latin Album, while “Bemba Colorá,” her collaboration with Gloria Estefan and Mimy Succar, was chosen in the Best Global Music Performance category.\u003c/p>\n\u003cp>San Francisco-based \u003ca href=\"https://www.kqed.org/arts/tag/metallica\">Metallica\u003c/a>, who added a tenth Grammy Award to their ever-growing list of accolades earlier this year, scored another nomination in the Best Metal Performance category with “Screaming Suicide.”\u003c/p>\n\u003cfigure id=\"attachment_13895353\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Taj-Mahal-Quartet-at-the-SFJAZZ-Center-in-San-Francisco-CA-on-March-1-2020-credit-Bill-Evans.jpg\" alt=\"A jazz quartet performs onstage in a modern theater with purple lighting.\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13895353\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Taj-Mahal-Quartet-at-the-SFJAZZ-Center-in-San-Francisco-CA-on-March-1-2020-credit-Bill-Evans.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Taj-Mahal-Quartet-at-the-SFJAZZ-Center-in-San-Francisco-CA-on-March-1-2020-credit-Bill-Evans-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Taj-Mahal-Quartet-at-the-SFJAZZ-Center-in-San-Francisco-CA-on-March-1-2020-credit-Bill-Evans-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Taj-Mahal-Quartet-at-the-SFJAZZ-Center-in-San-Francisco-CA-on-March-1-2020-credit-Bill-Evans-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Taj-Mahal-Quartet-at-the-SFJAZZ-Center-in-San-Francisco-CA-on-March-1-2020-credit-Bill-Evans-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Taj-Mahal-Quartet-at-the-SFJAZZ-Center-in-San-Francisco-CA-on-March-1-2020-credit-Bill-Evans-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Taj Mahal performs on the SFJAZZ Center’s Robert N. Miner Auditorium stage in San Francisco, CA on March 1, 2020. \u003ccite>(Bill Evans)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Blues musician \u003ca href=\"https://www.npr.org/2013/06/30/196647551/taj-mahal-still-cooking-up-heirloom-music-his-own-way\">Taj Mahal\u003c/a>, who lives in Berkeley, landed a nomination with the Taj Mahal Sextet for \u003cem>Swingin’ Live at the Church in Tulsa\u003c/em> in the Best Traditional Blues Album category. Mahal also earned a nomination for Best American Roots Performance for his featured role on The Fabulous Thunderbirds’ “Nothing in Rambling,” bringing up his career total to 17 nominations and four wins.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13940505/julian-lage-sfjazz-san-francisco\">Julian Lage\u003c/a>, a Santa Rosa-bred jazz guitarist, was nominated for his album \u003cem>Speak to Me\u003c/em> in the Best Contemporary Instrumental Album category — his seventh nomination, which could turn into his first-ever Grammy win.\u003c/p>\n\u003cp>The \u003ca href=\"https://www.kqed.org/arts/tag/san-francisco-symphony\">San Francisco Symphony\u003c/a> and conductor \u003ca href=\"https://www.kqed.org/arts/tag/esa-pekka-salonen\">Esa-Pekka Salonen\u003c/a> notched two nominations for Best Orchestral Performance and Best Opera Recording for his recording of Stravinsky’s “The Firebird” and Finnish composer Kaija Saariaho’s “Adriana Mater,” respectively. (Saariaho, who died last year, was also nominated in the Best Contemporary Classical Composition category for the recording).\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Also in the Best Opera Recording category is longtime Berkeley resident \u003ca href=\"https://www.kqed.org/arts/tag/john-adams\">John Adams\u003c/a>, the world-renowned composer and conductor. The Los Angeles Philharmonic’s recording of Adams’ \u003cem>Girls Of The Golden West\u003c/em>, which he conducted, secured Adams his 15th nomination.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Recording Academy announced the nominees for the 2025 Grammy Awards on Friday, led by an outstanding 11 nominations for the winningest artist in history herself, Beyoncé.\u003c/p>\n\u003cp>More than a few Bay Area artists managed to nab nominations across the 94 award categories, with Green Day and Kehlani scoring 3 nominations each and Sheila E., Taj Mahal and the San Francisco Symphony each landing a pair.\u003c/p>\n\u003cp>The winners of the 67th Grammy Awards will be announced on Feb. 2, 2025, before and during the televised ceremony.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/green-day\">Green Day\u003c/a>, the five-time Grammy-winning pop-punk band \u003ca href=\"https://www.kqed.org/news/12005849/pinole-honors-punk-icons-green-day-with-key-to-the-city\">recently honored in Pinole\u003c/a> with a key to the city, earned three nominations in the rock genre categories after their last two albums were overlooked. \u003cem>Saviors\u003c/em>, the band’s fourteenth studio album, landed a nomination for Best Rock Album. Two of its singles, “The American Dream Is Killing Me” and “Dilemma,” were recognized in Best Rock Performance and Best Rock Song categories, bringing the band’s all-time total to a staggering 20 nominations.\u003c/p>\n\u003cfigure id=\"attachment_13957856\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1638215938-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1688\" class=\"size-full wp-image-13957856\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1638215938-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1638215938-800x527.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1638215938-1020x673.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1638215938-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1638215938-768x506.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1638215938-1536x1013.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1638215938-2048x1350.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1638215938-1920x1266.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Kehlani performs during the Sol Blume Music festival at Discovery Park on August 20, 2023 in Sacramento, California. \u003ccite>(Tim Mosenfelder/WireImage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Oakland’s own \u003ca href=\"https://www.kqed.org/arts/tag/kehlani\">Kehlani\u003c/a>, who still proudly reps the Bay despite relocating to Los Angeles, scored three nominations as well. The R&B superstar, whose homecoming show at Chase Center last week featured surprise appearances from LaRussell, Mistah F.A.B. and Kamaiyah, found success with her latest studio album \u003cem>Crash\u003c/em>. The album was nominated in the Best Progressive R&B Album category, while its lead single, “After Hours,” landed in the Best R&B Song category. In addition, Kehlani’s featured role in the remixed version of British rapper Jordan Adetunji’s song “KEHLANI,” dedicated to the star, earned her a spot in the Best Melodic Rap Performance category. Yes, that’s right — Kehlani got a nomination for a song named after her.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Another Oakland artist picking up multiple nominations is \u003ca href=\"https://www.kqed.org/arts/13966525/sheila-e-tiny-desk-concert-npr-bailar\">Sheila E.\u003c/a>, who, alongside her father, percussionist Pete Escovedo, was awarded the Latin Grammy Lifetime Achievement Award in 2021. This year, her album \u003cem>Bailar\u003c/em> is nominated for Best Tropical Latin Album, while “Bemba Colorá,” her collaboration with Gloria Estefan and Mimy Succar, was chosen in the Best Global Music Performance category.\u003c/p>\n\u003cp>San Francisco-based \u003ca href=\"https://www.kqed.org/arts/tag/metallica\">Metallica\u003c/a>, who added a tenth Grammy Award to their ever-growing list of accolades earlier this year, scored another nomination in the Best Metal Performance category with “Screaming Suicide.”\u003c/p>\n\u003cfigure id=\"attachment_13895353\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Taj-Mahal-Quartet-at-the-SFJAZZ-Center-in-San-Francisco-CA-on-March-1-2020-credit-Bill-Evans.jpg\" alt=\"A jazz quartet performs onstage in a modern theater with purple lighting.\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13895353\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Taj-Mahal-Quartet-at-the-SFJAZZ-Center-in-San-Francisco-CA-on-March-1-2020-credit-Bill-Evans.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Taj-Mahal-Quartet-at-the-SFJAZZ-Center-in-San-Francisco-CA-on-March-1-2020-credit-Bill-Evans-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Taj-Mahal-Quartet-at-the-SFJAZZ-Center-in-San-Francisco-CA-on-March-1-2020-credit-Bill-Evans-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Taj-Mahal-Quartet-at-the-SFJAZZ-Center-in-San-Francisco-CA-on-March-1-2020-credit-Bill-Evans-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Taj-Mahal-Quartet-at-the-SFJAZZ-Center-in-San-Francisco-CA-on-March-1-2020-credit-Bill-Evans-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Taj-Mahal-Quartet-at-the-SFJAZZ-Center-in-San-Francisco-CA-on-March-1-2020-credit-Bill-Evans-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Taj Mahal performs on the SFJAZZ Center’s Robert N. Miner Auditorium stage in San Francisco, CA on March 1, 2020. \u003ccite>(Bill Evans)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Blues musician \u003ca href=\"https://www.npr.org/2013/06/30/196647551/taj-mahal-still-cooking-up-heirloom-music-his-own-way\">Taj Mahal\u003c/a>, who lives in Berkeley, landed a nomination with the Taj Mahal Sextet for \u003cem>Swingin’ Live at the Church in Tulsa\u003c/em> in the Best Traditional Blues Album category. Mahal also earned a nomination for Best American Roots Performance for his featured role on The Fabulous Thunderbirds’ “Nothing in Rambling,” bringing up his career total to 17 nominations and four wins.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13940505/julian-lage-sfjazz-san-francisco\">Julian Lage\u003c/a>, a Santa Rosa-bred jazz guitarist, was nominated for his album \u003cem>Speak to Me\u003c/em> in the Best Contemporary Instrumental Album category — his seventh nomination, which could turn into his first-ever Grammy win.\u003c/p>\n\u003cp>The \u003ca href=\"https://www.kqed.org/arts/tag/san-francisco-symphony\">San Francisco Symphony\u003c/a> and conductor \u003ca href=\"https://www.kqed.org/arts/tag/esa-pekka-salonen\">Esa-Pekka Salonen\u003c/a> notched two nominations for Best Orchestral Performance and Best Opera Recording for his recording of Stravinsky’s “The Firebird” and Finnish composer Kaija Saariaho’s “Adriana Mater,” respectively. (Saariaho, who died last year, was also nominated in the Best Contemporary Classical Composition category for the recording).\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Also in the Best Opera Recording category is longtime Berkeley resident \u003ca href=\"https://www.kqed.org/arts/tag/john-adams\">John Adams\u003c/a>, the world-renowned composer and conductor. The Los Angeles Philharmonic’s recording of Adams’ \u003cem>Girls Of The Golden West\u003c/em>, which he conducted, secured Adams his 15th nomination.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Jim Plunkett, Raised in East San Jose, Considered for NFL Hall of Fame",
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"content": "\u003cp>Jim Plunkett made the case for his football legacy long ago.\u003c/p>\n\u003cp>First at James Lick High School in East San Jose, where the campus quad is adorned with a mural of the two-time Super Bowl champion. Then at the 1971 Rose Bowl, where the Stanford quarterback capped a Heisman Trophy season by thumping Ohio State. And a decade later in New Orleans, where as an Oakland Raider he was named MVP of Super Bowl XV after toppling the favored Philadelphia Eagles.\u003c/p>\n\u003cp>A Pro Football Hall of Fame committee has recently named Plunkett — the only eligible player with two Super Bowl rings as a starting quarterback yet isn’t enshrined — among 31 Seniors category players in consideration for the 2025 class. But Plunkett says he isn’t thinking much about his football bona fides.\u003c/p>\n\u003cfigure id=\"attachment_13967820\" 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-1856820107.jpg\" alt=\"\" width=\"2000\" height=\"1488\" class=\"size-full wp-image-13967820\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1856820107.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1856820107-800x595.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1856820107-1020x759.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1856820107-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1856820107-768x571.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1856820107-1536x1143.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1856820107-1920x1428.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jim Plunkett looks on before the Las Vegas Raiders’ game against the Los Angeles Chargers on December 14, 2023 in Las Vegas, Nevada. The Raiders defeated the Chargers 63-21. \u003ccite>(Ethan Miller/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Speaking by phone Monday, Plunkett, 76, said he appreciates the Bay Area politicians, historians and fans who are championing his legacy and advocating for his induction.\u003c/p>\n\u003cp>It’s not a tough sell. Plunkett was an East San Jose child, born to blind parents of Mexican and Cherokee heritage, who attended Stanford on scholarship and became the first non-white starting quarterback to capture a Super Bowl — and then, three years later, won another.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postID='arts_13920367']Plunkett’s thoughts are instead with 87-year-old Tom Flores, his former coach, whose long-awaited Pro Football Hall of Fame induction came in 2021. Plunkett said Flores is struggling with health issues after back surgeries. “I mostly talked with him about health and family,” Plunkett said about his recent visit to Flores’ home. “A little about our careers.”\u003c/p>\n\u003cp>Decades ago, Flores and the Raiders gave Plunkett a chance at career redemption. The quarterback had endured tough stints with the Patriots and 49ers when Oakland Raiders owner Al Davis signed the 30-year-old as a backup in 1978. After starter Dan Pastorini broke his leg early in the 1980 season, Plunkett won nine of the final 11 regular season games, and three more for a Super Bowl berth.\u003c/p>\n\u003cfigure id=\"attachment_13967821\" 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-2152050290.jpg\" alt=\"\" width=\"2000\" height=\"1341\" class=\"size-full wp-image-13967821\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-2152050290.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-2152050290-800x536.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-2152050290-1020x684.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-2152050290-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-2152050290-768x515.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-2152050290-1536x1030.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-2152050290-1920x1287.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jim Plunkett drops back to pass during a game against the Philadelphia Eagles at Veterans Stadium in Philadelphia, Pennsylvania on November 23, 1980. The Eagles defeated the Raiders 10-7, but the Raiders would get a rematch. The two teams met again in January in Super Bowl XV, where the Raiders won 27-10. \u003ccite>(James Drake/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gilroy native Michael Trevino, then 19, took a Greyhound bus with three friends to attend that Super Bowl, using connections with some New Orleans produce farmers to score $40 tickets on the 20-yard-line of the Superdome. Wearing a “Mr. Garlic” costume from the Gilroy Garlic Festival, Trevino watched Plunkett throw three touchdowns, carrying the Raiders to victory. The quarterback was named Super Bowl MVP. \u003c/p>\n\u003cp>Three years later, Plunkett and the relocated L.A. Raiders thumped Washington in Super Bowl XVIII.\u003c/p>\n\u003cp>“It would mean everything,” said Trevino, now co-chair of the Chicano-Latino Alumni Chapter at UC Berkeley, of Plunkett being inducted into the Pro Football Hall of Fame. “It’s not only due on merits, but it would mean something for the Latino community. We did not have many Mexican-American football players. It was inspiring. For the Raiders, the Latino community blossomed with Flores and Plunkett. These were our players. This was our team.”\u003c/p>\n\u003cp>Lick High Principal Honey Gubuan wrote in an email that Plunkett’s induction “would serve as a powerful reminder of what’s possible for our students, no matter their background or challenges.”\u003c/p>\n\u003cfigure id=\"attachment_13967822\" class=\"wp-caption aligncenter\" style=\"max-width: 1340px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-78189009.jpg\" alt=\"\" width=\"1340\" height=\"2000\" class=\"size-full wp-image-13967822\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-78189009.jpg 1340w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-78189009-800x1194.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-78189009-1020x1522.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-78189009-160x239.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-78189009-768x1146.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-78189009-1029x1536.jpg 1029w\" sizes=\"(max-width: 1340px) 100vw, 1340px\">\u003cfigcaption class=\"wp-caption-text\">Jim Plunkett talks to a coach on the sidelines during an NFL football game in the early 1980s. Plunkett played for the Raiders from 1979-84. \u003ccite>(Focus on Sport/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>California State Senator Dave Cortese (D-Silicon Valley) was raised by a San Jose orchard farming family, not far from Lick High. “The guy’s an icon here,” Cortese explained of Plunkett. “All of the hardships aside, he was just a neighborhood guy. His whole life had that magical trajectory.”\u003c/p>\n\u003cp>As a teenager, Cortese attended the 1971 Rose Bowl when his father bought last-minute tickets in the stadium parking lot. Squeezed into a stairwell above one of the Rose Bowl end zones, Cortese watched Plunkett seal the Stanford victory with a fourth-quarter touchdown pass. The next morning, the Cortese family stumbled upon the Stanford football team at a hotel in nearby San Pedro. Plunkett was saddled up to a diner outside the hotel restaurant. He signed Dave’s game ticket.\u003c/p>\n\u003cp>“It’s time,” Cortese said of Plunkett’s enshrinement, pointing to his resurgence with a Raiders team that had missed the 1978 and 1979 playoffs. “It wasn’t just a major comeback for himself, but the whole team was struggling.”\u003c/p>\n\u003cfigure id=\"attachment_13967819\" 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/PlunkettMural.jpg\" alt=\"\" width=\"2000\" height=\"1125\" class=\"size-full wp-image-13967819\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/PlunkettMural.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/PlunkettMural-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/PlunkettMural-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/PlunkettMural-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/PlunkettMural-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/PlunkettMural-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/PlunkettMural-1920x1080.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A mural at Jim Plunkett’s former high school, James Lick High School in East San Jose, depicts Plunkett at right. \u003ccite>(Courtesy James Lick High School)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Plunkett admits he was “very fortunate” to wind up playing in Oakland. “I struggled for a long time,” he says of his early years as a pro. “I found a career with the Raiders. I’m glad it worked out the way it did.” Plunkett appreciates the support he received from Oakland fans before the team moved in 1982.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The 31 remaining players in the Seniors category \u003ca href=\"https://www.profootballhof.com/news/2024/10/31-seniors-remain-in-consideration-for-hall%E2%80%99s-class-of-2025-after-second-reduction-vote/\">will soon be trimmed to nine\u003c/a>, according to the Pro Football Hall of Fame. Other quarterbacks under consideration are Ken Anderson and Charlie Conerly. Only on-the-field accomplishments are considered. Of the remaining nine players, the committee will select three for possible induction. The Pro Football Hall of Fame Class of 2025 will be announced in February in New Orleans. The enshrinement is in August in Canton, Ohio.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Jim Plunkett made the case for his football legacy long ago.\u003c/p>\n\u003cp>First at James Lick High School in East San Jose, where the campus quad is adorned with a mural of the two-time Super Bowl champion. Then at the 1971 Rose Bowl, where the Stanford quarterback capped a Heisman Trophy season by thumping Ohio State. And a decade later in New Orleans, where as an Oakland Raider he was named MVP of Super Bowl XV after toppling the favored Philadelphia Eagles.\u003c/p>\n\u003cp>A Pro Football Hall of Fame committee has recently named Plunkett — the only eligible player with two Super Bowl rings as a starting quarterback yet isn’t enshrined — among 31 Seniors category players in consideration for the 2025 class. But Plunkett says he isn’t thinking much about his football bona fides.\u003c/p>\n\u003cfigure id=\"attachment_13967820\" 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-1856820107.jpg\" alt=\"\" width=\"2000\" height=\"1488\" class=\"size-full wp-image-13967820\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1856820107.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1856820107-800x595.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1856820107-1020x759.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1856820107-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1856820107-768x571.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1856820107-1536x1143.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1856820107-1920x1428.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jim Plunkett looks on before the Las Vegas Raiders’ game against the Los Angeles Chargers on December 14, 2023 in Las Vegas, Nevada. The Raiders defeated the Chargers 63-21. \u003ccite>(Ethan Miller/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Speaking by phone Monday, Plunkett, 76, said he appreciates the Bay Area politicians, historians and fans who are championing his legacy and advocating for his induction.\u003c/p>\n\u003cp>It’s not a tough sell. Plunkett was an East San Jose child, born to blind parents of Mexican and Cherokee heritage, who attended Stanford on scholarship and became the first non-white starting quarterback to capture a Super Bowl — and then, three years later, won another.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Plunkett’s thoughts are instead with 87-year-old Tom Flores, his former coach, whose long-awaited Pro Football Hall of Fame induction came in 2021. Plunkett said Flores is struggling with health issues after back surgeries. “I mostly talked with him about health and family,” Plunkett said about his recent visit to Flores’ home. “A little about our careers.”\u003c/p>\n\u003cp>Decades ago, Flores and the Raiders gave Plunkett a chance at career redemption. The quarterback had endured tough stints with the Patriots and 49ers when Oakland Raiders owner Al Davis signed the 30-year-old as a backup in 1978. After starter Dan Pastorini broke his leg early in the 1980 season, Plunkett won nine of the final 11 regular season games, and three more for a Super Bowl berth.\u003c/p>\n\u003cfigure id=\"attachment_13967821\" 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-2152050290.jpg\" alt=\"\" width=\"2000\" height=\"1341\" class=\"size-full wp-image-13967821\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-2152050290.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-2152050290-800x536.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-2152050290-1020x684.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-2152050290-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-2152050290-768x515.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-2152050290-1536x1030.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-2152050290-1920x1287.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jim Plunkett drops back to pass during a game against the Philadelphia Eagles at Veterans Stadium in Philadelphia, Pennsylvania on November 23, 1980. The Eagles defeated the Raiders 10-7, but the Raiders would get a rematch. The two teams met again in January in Super Bowl XV, where the Raiders won 27-10. \u003ccite>(James Drake/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gilroy native Michael Trevino, then 19, took a Greyhound bus with three friends to attend that Super Bowl, using connections with some New Orleans produce farmers to score $40 tickets on the 20-yard-line of the Superdome. Wearing a “Mr. Garlic” costume from the Gilroy Garlic Festival, Trevino watched Plunkett throw three touchdowns, carrying the Raiders to victory. The quarterback was named Super Bowl MVP. \u003c/p>\n\u003cp>Three years later, Plunkett and the relocated L.A. Raiders thumped Washington in Super Bowl XVIII.\u003c/p>\n\u003cp>“It would mean everything,” said Trevino, now co-chair of the Chicano-Latino Alumni Chapter at UC Berkeley, of Plunkett being inducted into the Pro Football Hall of Fame. “It’s not only due on merits, but it would mean something for the Latino community. We did not have many Mexican-American football players. It was inspiring. For the Raiders, the Latino community blossomed with Flores and Plunkett. These were our players. This was our team.”\u003c/p>\n\u003cp>Lick High Principal Honey Gubuan wrote in an email that Plunkett’s induction “would serve as a powerful reminder of what’s possible for our students, no matter their background or challenges.”\u003c/p>\n\u003cfigure id=\"attachment_13967822\" class=\"wp-caption aligncenter\" style=\"max-width: 1340px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-78189009.jpg\" alt=\"\" width=\"1340\" height=\"2000\" class=\"size-full wp-image-13967822\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-78189009.jpg 1340w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-78189009-800x1194.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-78189009-1020x1522.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-78189009-160x239.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-78189009-768x1146.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-78189009-1029x1536.jpg 1029w\" sizes=\"(max-width: 1340px) 100vw, 1340px\">\u003cfigcaption class=\"wp-caption-text\">Jim Plunkett talks to a coach on the sidelines during an NFL football game in the early 1980s. Plunkett played for the Raiders from 1979-84. \u003ccite>(Focus on Sport/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>California State Senator Dave Cortese (D-Silicon Valley) was raised by a San Jose orchard farming family, not far from Lick High. “The guy’s an icon here,” Cortese explained of Plunkett. “All of the hardships aside, he was just a neighborhood guy. His whole life had that magical trajectory.”\u003c/p>\n\u003cp>As a teenager, Cortese attended the 1971 Rose Bowl when his father bought last-minute tickets in the stadium parking lot. Squeezed into a stairwell above one of the Rose Bowl end zones, Cortese watched Plunkett seal the Stanford victory with a fourth-quarter touchdown pass. The next morning, the Cortese family stumbled upon the Stanford football team at a hotel in nearby San Pedro. Plunkett was saddled up to a diner outside the hotel restaurant. He signed Dave’s game ticket.\u003c/p>\n\u003cp>“It’s time,” Cortese said of Plunkett’s enshrinement, pointing to his resurgence with a Raiders team that had missed the 1978 and 1979 playoffs. “It wasn’t just a major comeback for himself, but the whole team was struggling.”\u003c/p>\n\u003cfigure id=\"attachment_13967819\" 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/PlunkettMural.jpg\" alt=\"\" width=\"2000\" height=\"1125\" class=\"size-full wp-image-13967819\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/PlunkettMural.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/PlunkettMural-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/PlunkettMural-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/PlunkettMural-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/PlunkettMural-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/PlunkettMural-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/PlunkettMural-1920x1080.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A mural at Jim Plunkett’s former high school, James Lick High School in East San Jose, depicts Plunkett at right. \u003ccite>(Courtesy James Lick High School)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Plunkett admits he was “very fortunate” to wind up playing in Oakland. “I struggled for a long time,” he says of his early years as a pro. “I found a career with the Raiders. I’m glad it worked out the way it did.” Plunkett appreciates the support he received from Oakland fans before the team moved in 1982.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The 31 remaining players in the Seniors category \u003ca href=\"https://www.profootballhof.com/news/2024/10/31-seniors-remain-in-consideration-for-hall%E2%80%99s-class-of-2025-after-second-reduction-vote/\">will soon be trimmed to nine\u003c/a>, according to the Pro Football Hall of Fame. Other quarterbacks under consideration are Ken Anderson and Charlie Conerly. Only on-the-field accomplishments are considered. Of the remaining nine players, the committee will select three for possible induction. The Pro Football Hall of Fame Class of 2025 will be announced in February in New Orleans. The enshrinement is in August in Canton, Ohio.\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": "mac-dre-20-years-death-furly-ghost-bay-area",
"title": "20 Years After Mac Dre’s Death, the Furly Ghost Still Lingers",
"publishDate": 1730332391,
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"headTitle": "20 Years After Mac Dre’s Death, the Furly Ghost Still Lingers | KQED",
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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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"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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"content": "\u003cp>More than 1,000 authors, publishers and literary workers have signed \u003ca href=\"https://docs.google.com/document/d/1KzLMsjcs2Qla--qqzsfJ8iJdHN-nABGdCcYWRcqSyIA/edit?tab=t.0\">an open letter\u003c/a> to boycott Israeli cultural and academic institutions that refuse to denounce Israel’s attacks on the Palestinian people. \u003c/p>\n\u003cp>The letter, which organizers characterize as “the biggest cultural boycott against Israeli cultural institutions in history,” is signed by numerous Bay Area authors, including Judith Butler, Ingrid Rojas Contreras, Malcolm Harris, Rachel Kushner and Robert Liu-Trujillo.\u003c/p>\n\u003cp>[aside postID='arts_13966738']“We cannot in good conscience engage with Israeli institutions without interrogating their relationship to apartheid and displacement,” the letter reads. “This was the position taken by countless authors against South Africa; it was their contribution to the struggle against apartheid there.”\u003c/p>\n\u003cp>Signees of the letter include winners and finalists for nearly every major literary award, including the Booker Prizes, the Pulitzer Prizes and the National Book Award. Earlier this year, the organization PEN America canceled its ceremony after 9 of 10 award recipients withdrew over the group’s stance on Israel. \u003c/p>\n\u003cp>[aside postID='arts_13966771']“Every writer wishes to be published everywhere,” said Viet Thanh Nguyen, the Pulitzer-winning author who grew up in San José and graduated from UC Berkeley, in a statement. “But I have told my Israeli publisher that if they will not support the basic principles expressed in this letter — an end to complicity with Israel’s apartheid and full rights for Palestinians — I cannot approve the forthcoming publication of my book, \u003cem>The Refugees\u003c/em>.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The letter also invites others in the literary world to sign on, calling on “publishers, editors and agents to join us in taking a stand, in recognising our own involvement, our own moral responsibility and to stop engaging with the Israeli state and with complicit Israeli institutions.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The letter and its list of signees \u003ca href=\"https://docs.google.com/document/d/1KzLMsjcs2Qla--qqzsfJ8iJdHN-nABGdCcYWRcqSyIA/edit?tab=t.0\">can be viewed in full here\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>More than 1,000 authors, publishers and literary workers have signed \u003ca href=\"https://docs.google.com/document/d/1KzLMsjcs2Qla--qqzsfJ8iJdHN-nABGdCcYWRcqSyIA/edit?tab=t.0\">an open letter\u003c/a> to boycott Israeli cultural and academic institutions that refuse to denounce Israel’s attacks on the Palestinian people. \u003c/p>\n\u003cp>The letter, which organizers characterize as “the biggest cultural boycott against Israeli cultural institutions in history,” is signed by numerous Bay Area authors, including Judith Butler, Ingrid Rojas Contreras, Malcolm Harris, Rachel Kushner and Robert Liu-Trujillo.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“We cannot in good conscience engage with Israeli institutions without interrogating their relationship to apartheid and displacement,” the letter reads. “This was the position taken by countless authors against South Africa; it was their contribution to the struggle against apartheid there.”\u003c/p>\n\u003cp>Signees of the letter include winners and finalists for nearly every major literary award, including the Booker Prizes, the Pulitzer Prizes and the National Book Award. Earlier this year, the organization PEN America canceled its ceremony after 9 of 10 award recipients withdrew over the group’s stance on Israel. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“Every writer wishes to be published everywhere,” said Viet Thanh Nguyen, the Pulitzer-winning author who grew up in San José and graduated from UC Berkeley, in a statement. “But I have told my Israeli publisher that if they will not support the basic principles expressed in this letter — an end to complicity with Israel’s apartheid and full rights for Palestinians — I cannot approve the forthcoming publication of my book, \u003cem>The Refugees\u003c/em>.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The letter also invites others in the literary world to sign on, calling on “publishers, editors and agents to join us in taking a stand, in recognising our own involvement, our own moral responsibility and to stop engaging with the Israeli state and with complicit Israeli institutions.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The letter and its list of signees \u003ca href=\"https://docs.google.com/document/d/1KzLMsjcs2Qla--qqzsfJ8iJdHN-nABGdCcYWRcqSyIA/edit?tab=t.0\">can be viewed in full here\u003c/a>.\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>\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.\u003c/p>\u003c/div>",
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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": "Charli XCX Said ‘Kamala IS Brat.’ 3 Months On, Do Her Bay Area Fans Agree?",
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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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"headline": "Charli XCX Said ‘Kamala IS Brat.’ 3 Months On, Do Her Bay Area Fans Agree?",
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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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"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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"soldout": {
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"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
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