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"content": "\u003cp>One of the most special things about Nicole “Denalda” Renae, 29, was her curiosity, says Michelle Campbell.\u003c/p>\n\u003cp>“It was a never-ending curiosity to make unique sounds from the synth,” Campbell says. “She was like a mad scientist in a lab.”\u003c/p>\n\u003cfigure id=\"attachment_12485548\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/Denalda.USETHISONEINLINE-800x1067.jpg\" alt=\"Denalda\" width=\"800\" height=\"1067\" class=\"size-medium wp-image-12485548\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Denalda.USETHISONEINLINE-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Denalda.USETHISONEINLINE-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Denalda.USETHISONEINLINE-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Denalda.USETHISONEINLINE-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Denalda.USETHISONEINLINE-1180x1573.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Denalda.USETHISONEINLINE-960x1280.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Denalda.USETHISONEINLINE-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Denalda.USETHISONEINLINE-375x500.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Denalda.USETHISONEINLINE-520x693.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Denalda.USETHISONEINLINE.jpg 1536w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nicole ‘Denalda’ Renae.\u003c/figcaption>\u003c/figure>\n\u003cp>Campbell managed Introflirt, the band that Denalda — that’s the name she went by — and music partner \u003ca href=\"https://ww2.kqed.org/arts/2016/12/09/ben-runnels/\" target=\"_blank\" rel=\"noopener\">Ben Runnels\u003c/a> created together. Their singular sound blended her synthesizer with his 1940s crooner voice, tipping a hat to the past while creating a fresh sound they called “croon-wave.” Both Denalda, who was born Nicole Renae Siegrist in Lincoln, Nebraska, and Runnels died in the Oakland warehouse fire. \u003c/p>\n\u003cp>“The keyboard was like an extension of herself,” says Daniel Wayne Lugo, a performance and visual artist who goes by “El Maldito.” He got to know Denalda over the last few years as they attended each other’s performances and showings. “She got locked on the rhythm and held it,” El Maldito says. “You kept your eyes on her, like, what’s she going to do? It was a super-intriguing kind of performance.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3088238573/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In an RIP message to Introflirt on Facebook, El Maldito describes the band as, “an intense duo who were embarking on a great musical journey. Humbled to have shared artistic spaces with them and witness their craft shine like the solid people they were. Blessings.”\u003c/p>\n\u003cp>The name of the band, Introflirt, was a combination of Denalda and Runnels’ personalities. \u003c/p>\n\u003cp>https://www.youtube.com/watch?v=7Fdhmlzkzko&feature=youtu.be\u003c/p>\n\u003cp>Runnels, who was introspective, leant his character to the first part of the band’s name. Denalda characterized the second: “Denalda was the outgoing, flirtatious individual, very playful,” Campbell says. She had a theatrical presence onstage, fueled partly by the mystery of what she and her friends had styled that night for her outfit. The first time Campbell saw her, Denalda was a blond with a neckline down to her waist, and the last show Campbell saw her in, she was straight out of the cast of \u003cem>Dallas\u003c/em>, in a red top with puffy shoulder pads. Denalda had a vast assortment of wigs, and her appearance changed so often that friends sometimes didn’t recognize her. \u003c/p>\n\u003cp>“Denalda was fiercely creative, fiercely individual and fierce in her opinions, free-spirited, super-loving and very excited to be doing what she was doing,” Campbell says. “She was constantly honing her skills, she was taking piano classes at Laney College up until this past week.” Denalda had also worked at the Grand Lake Theatre in Oakland, which paid tribute to her \u003ca href=\"https://www.instagram.com/p/BN_ZVo-hCYT/\" target=\"_blank\" rel=\"noopener\">in auditorium signage\u003c/a> and \u003ca href=\"https://twitter.com/McMurtrieSF/status/805997444060225536\" target=\"_blank\" rel=\"noopener\">on the marquee\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12487711\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/INtrofilrt-800x500.jpg\" alt=\"Nicole 'Denalda' Renae (right) with Ben Runnels as Introflirt. \" width=\"800\" height=\"500\" class=\"size-medium wp-image-12487711\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/INtrofilrt-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/INtrofilrt-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/INtrofilrt-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/INtrofilrt-960x600.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/INtrofilrt-240x150.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/INtrofilrt-375x234.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/INtrofilrt-520x325.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/INtrofilrt.jpg 995w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nicole ‘Denalda’ Renae (right) with Ben Runnels as Introflirt.\u003c/figcaption>\u003c/figure>\n\u003cp>Probably the most telling detail about the success of Denalda’s music is that people gave it their full attention, friends say. El Maldito says the last time he saw Introflirt was six or seven months ago at the Legionnaire Saloon in Oakland. Most of the crowd had come to hear the out-of-town headliners that night. But Introflirt’s performance was so dynamic, he says, that a lot of people left when the duo finished. \u003c/p>\n\u003cp>“Introflirt took the whole place down,” El Maldito says. “They were very magnetic. They had that presence to pull you in so much you forgot who else was going to play. People were dancing the whole time.”\u003c/p>\n\u003cfigure id=\"attachment_12485547\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/DenaldaRenae1-800x796.jpg\" alt=\"Denalda\" width=\"800\" height=\"796\" class=\"size-medium wp-image-12485547\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/DenaldaRenae1-800x796.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/DenaldaRenae1-160x159.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/DenaldaRenae1-768x764.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/DenaldaRenae1.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/DenaldaRenae1-240x239.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/DenaldaRenae1-375x373.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/DenaldaRenae1-520x517.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/DenaldaRenae1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/DenaldaRenae1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/DenaldaRenae1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/DenaldaRenae1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/DenaldaRenae1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/DenaldaRenae1-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nicole ‘Denalda’ Renae.\u003c/figcaption>\u003c/figure>\n\u003cp>El Maldito says Denalda was as humble and supportive of other artists as she was a powerful artist herself. She could say with a look that she cared what other artists were doing. “She had big eyes that would look at you and give you strong affirmation, like, ‘I see you. I’m glad to be here with you,’” El Maldito says. \u003c/p>\n\u003cp>https://twitter.com/McMurtrieSF/status/805997444060225536\u003c/p>\n\u003cp>The best way to honor Denalda’s memory, says Campbell, is to engage with Introflirt’s music. “Dance to their music,” Campbell says. “Listen to it, tell your friends about it. Because this is what they did.”\u003c/p>\n\u003cp>Campbell says Denalda’s parents have asked for no media contact, and have authorized friends to speak on their behalf.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>To hear music from Introflirt, see \u003ca href=\"https://soundcloud.com/introflirt\" target=\"_blank\" rel=\"noopener\">the duo’s Soundcloud page\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003cem>For more of our tributes to the victims of the Oakland warehouse fire, please visit our \u003ca href=\"https://ww2.kqed.org/arts/programs/oakland-warehouse-memorial/\" target=\"_blank\" rel=\"noopener\">remembrances page here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>For a printable poster of the illustration above, \u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/denaldarenaeedit.pdf\" target=\"_blank\" rel=\"noopener\">see here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "As the musical mind of the synth duo Introflirt, Denalda had a captivating presence; 'free-spirited, super-loving and very excited to be doing what she was doing.'",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>One of the most special things about Nicole “Denalda” Renae, 29, was her curiosity, says Michelle Campbell.\u003c/p>\n\u003cp>“It was a never-ending curiosity to make unique sounds from the synth,” Campbell says. “She was like a mad scientist in a lab.”\u003c/p>\n\u003cfigure id=\"attachment_12485548\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/Denalda.USETHISONEINLINE-800x1067.jpg\" alt=\"Denalda\" width=\"800\" height=\"1067\" class=\"size-medium wp-image-12485548\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Denalda.USETHISONEINLINE-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Denalda.USETHISONEINLINE-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Denalda.USETHISONEINLINE-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Denalda.USETHISONEINLINE-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Denalda.USETHISONEINLINE-1180x1573.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Denalda.USETHISONEINLINE-960x1280.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Denalda.USETHISONEINLINE-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Denalda.USETHISONEINLINE-375x500.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Denalda.USETHISONEINLINE-520x693.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Denalda.USETHISONEINLINE.jpg 1536w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nicole ‘Denalda’ Renae.\u003c/figcaption>\u003c/figure>\n\u003cp>Campbell managed Introflirt, the band that Denalda — that’s the name she went by — and music partner \u003ca href=\"https://ww2.kqed.org/arts/2016/12/09/ben-runnels/\" target=\"_blank\" rel=\"noopener\">Ben Runnels\u003c/a> created together. Their singular sound blended her synthesizer with his 1940s crooner voice, tipping a hat to the past while creating a fresh sound they called “croon-wave.” Both Denalda, who was born Nicole Renae Siegrist in Lincoln, Nebraska, and Runnels died in the Oakland warehouse fire. \u003c/p>\n\u003cp>“The keyboard was like an extension of herself,” says Daniel Wayne Lugo, a performance and visual artist who goes by “El Maldito.” He got to know Denalda over the last few years as they attended each other’s performances and showings. “She got locked on the rhythm and held it,” El Maldito says. “You kept your eyes on her, like, what’s she going to do? It was a super-intriguing kind of performance.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3088238573/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In an RIP message to Introflirt on Facebook, El Maldito describes the band as, “an intense duo who were embarking on a great musical journey. Humbled to have shared artistic spaces with them and witness their craft shine like the solid people they were. Blessings.”\u003c/p>\n\u003cp>The name of the band, Introflirt, was a combination of Denalda and Runnels’ personalities. \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/7Fdhmlzkzko'\n title='//www.youtube.com/embed/7Fdhmlzkzko'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Runnels, who was introspective, leant his character to the first part of the band’s name. Denalda characterized the second: “Denalda was the outgoing, flirtatious individual, very playful,” Campbell says. She had a theatrical presence onstage, fueled partly by the mystery of what she and her friends had styled that night for her outfit. The first time Campbell saw her, Denalda was a blond with a neckline down to her waist, and the last show Campbell saw her in, she was straight out of the cast of \u003cem>Dallas\u003c/em>, in a red top with puffy shoulder pads. Denalda had a vast assortment of wigs, and her appearance changed so often that friends sometimes didn’t recognize her. \u003c/p>\n\u003cp>“Denalda was fiercely creative, fiercely individual and fierce in her opinions, free-spirited, super-loving and very excited to be doing what she was doing,” Campbell says. “She was constantly honing her skills, she was taking piano classes at Laney College up until this past week.” Denalda had also worked at the Grand Lake Theatre in Oakland, which paid tribute to her \u003ca href=\"https://www.instagram.com/p/BN_ZVo-hCYT/\" target=\"_blank\" rel=\"noopener\">in auditorium signage\u003c/a> and \u003ca href=\"https://twitter.com/McMurtrieSF/status/805997444060225536\" target=\"_blank\" rel=\"noopener\">on the marquee\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12487711\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/INtrofilrt-800x500.jpg\" alt=\"Nicole 'Denalda' Renae (right) with Ben Runnels as Introflirt. \" width=\"800\" height=\"500\" class=\"size-medium wp-image-12487711\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/INtrofilrt-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/INtrofilrt-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/INtrofilrt-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/INtrofilrt-960x600.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/INtrofilrt-240x150.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/INtrofilrt-375x234.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/INtrofilrt-520x325.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/INtrofilrt.jpg 995w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nicole ‘Denalda’ Renae (right) with Ben Runnels as Introflirt.\u003c/figcaption>\u003c/figure>\n\u003cp>Probably the most telling detail about the success of Denalda’s music is that people gave it their full attention, friends say. El Maldito says the last time he saw Introflirt was six or seven months ago at the Legionnaire Saloon in Oakland. Most of the crowd had come to hear the out-of-town headliners that night. But Introflirt’s performance was so dynamic, he says, that a lot of people left when the duo finished. \u003c/p>\n\u003cp>“Introflirt took the whole place down,” El Maldito says. “They were very magnetic. They had that presence to pull you in so much you forgot who else was going to play. People were dancing the whole time.”\u003c/p>\n\u003cfigure id=\"attachment_12485547\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/DenaldaRenae1-800x796.jpg\" alt=\"Denalda\" width=\"800\" height=\"796\" class=\"size-medium wp-image-12485547\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/DenaldaRenae1-800x796.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/DenaldaRenae1-160x159.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/DenaldaRenae1-768x764.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/DenaldaRenae1.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/DenaldaRenae1-240x239.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/DenaldaRenae1-375x373.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/DenaldaRenae1-520x517.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/DenaldaRenae1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/DenaldaRenae1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/DenaldaRenae1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/DenaldaRenae1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/DenaldaRenae1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/DenaldaRenae1-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nicole ‘Denalda’ Renae.\u003c/figcaption>\u003c/figure>\n\u003cp>El Maldito says Denalda was as humble and supportive of other artists as she was a powerful artist herself. She could say with a look that she cared what other artists were doing. “She had big eyes that would look at you and give you strong affirmation, like, ‘I see you. I’m glad to be here with you,’” El Maldito says. \u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>The best way to honor Denalda’s memory, says Campbell, is to engage with Introflirt’s music. “Dance to their music,” Campbell says. “Listen to it, tell your friends about it. Because this is what they did.”\u003c/p>\n\u003cp>Campbell says Denalda’s parents have asked for no media contact, and have authorized friends to speak on their behalf.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>To hear music from Introflirt, see \u003ca href=\"https://soundcloud.com/introflirt\" target=\"_blank\" rel=\"noopener\">the duo’s Soundcloud page\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003cem>For more of our tributes to the victims of the Oakland warehouse fire, please visit our \u003ca href=\"https://ww2.kqed.org/arts/programs/oakland-warehouse-memorial/\" target=\"_blank\" rel=\"noopener\">remembrances page here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>For a printable poster of the illustration above, \u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/denaldarenaeedit.pdf\" target=\"_blank\" rel=\"noopener\">see here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "'Growing Pains' Star and TV Host Alan Thicke Dies at Age 69",
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"content": "\u003cp>Alan Thicke, a versatile performer who gained his greatest renown as the beloved dad on a long-running sitcom, has died at age 69.\u003c/p>\n\u003cp>Carleen Donovan, who is a publicist for Thicke’s son, singer Robin Thicke, said the actor died from a heart attack on Tuesday in Los Angeles. She had no further details.\u003c/p>\n\u003cp>Thicke was a Canadian-born TV host, writer, composer and actor well-known in his homeland before making his name in the United States, most notably with the ABC series \u003cem>Growing Pains\u003c/em>.\u003c/p>\n\u003cp>On that comedy, which aired from 1985 to 1992, Thicke played Dr. Jason Seaver, a psychiatrist and father-knows-best who moved his practice into his home so his wife could go back to work as a reporter. Along with his clients, he had three (later four) kids under foot, including his oldest son, Mike, played by breakout heart-throb Kirk Cameron, who served as a constant source of comedic trouble for the family.\u003c/p>\n\u003cp>Born in Ontario, Canada, in 1947, Thicke was nominated for three Emmy Awards for his work in the late 1970s as a writer for Barry Manilow’s talk show, and later for a satirical take on the genre in the variety show \u003cem>America 2-Night\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>He composed several popular theme songs, including the original theme for \u003cem>The Wheel of Fortune\u003c/em> and other shows including \u003cem>The Facts of Life\u003c/em> and \u003cem>Diff’rent Strokes\u003c/em>.\u003c/p>\n\u003cp>Perhaps his boldest assault on the U.S. market was as a virtual unknown taking on the King of Late Night, Johnny Carson. \u003cem>Thicke of the Night\u003c/em> was a syndicated talk-music-and-comedy show meant to go head-to-head against NBC’s \u003cem>The Tonight Show Starring Johnny Carson\u003c/em>.\u003c/p>\n\u003cp>It premiered in September 1983 with great fanfare, boasting an innovative format and regulars including Richard Belzer, Arsenio Hall, Gilbert Gottfried and Fred Willard. But all too quickly, it was evident that Carson wasn’t going to be dethroned, and the ambitious \u003cem>Thicke\u003c/em> disappeared into the night after one season.\u003c/p>\n\u003cp>In the 1990s and beyond, Thicke stayed busy as a celebrity TV host and with guest shots on dozens of series, including \u003cem>How I Met Your Mother\u003c/em> and, this year, the Netflix series \u003cem>Fuller House\u003c/em> and the NBC drama \u003cem>This Is Us\u003c/em>.\u003c/p>\n\u003cp>Celebrities who had crossed paths with Thicke, whether through music, acting or simply as friends, expressed their sorrow at news of his death.\u003c/p>\n\u003cp>“I grew up watching him and got to know him through Robin. He was always so kind to me,” John Legend posted on Twitter.\u003c/p>\n\u003cp>“You were a part of my family and hockey family. You will be greatly missed. My heart hurts,” Candace Cameron Bure tweeted.\u003c/p>\n\u003cp>“RIP dear friend and gentleman,” posted Marlee Matlin.\u003c/p>\n\u003cp>Thicke’s fellow Canadians also responded quickly.\u003c/p>\n\u003cp>William Shatner tweeted that he was saddened by his friend’s loss, and singer Anne Murray’s Twitter post said she was “shocked and devastated,” recalling him as a friend as well as a writer and producer of many of her TV specials.\u003c/p>\n\u003cp>The Edmonton Oilers also weighed in.\u003c/p>\n\u003cp>“RIP to one of the great ones, Alan Thicke,” was posted on the hockey team’s website, with a photo of a young Thicke and Wayne Gretzky on the ice.\u003c/p>\n\u003cp>Like any good Canadian, Thicke was a hockey fan, frequently attending LA Kings games. He took credit for introducing the sport to celebrity friends.\u003c/p>\n\u003cp>He began playing at age 5, but acknowledged he wasn’t very good at it.\u003c/p>\n\u003cp>“You were expected to play,” he said in 1998. “I was never good enough for the big time, but I always had fun at it.”\u003c/p>\n\u003cp>In 2003, Thicke received 30 stitches and lost five teeth after he was struck by a puck while practicing for a celebrity fundraising hockey game. “I won’t be playing any leading men roles in the next couple of months,” he joked after the accident.\u003c/p>\n\u003cp>He had the satisfaction of seeing his musical skills passed down to son Robin, a successful singer-songwriter and producer who, with brother Brennan, was born to Thicke and the first of his three wives, Gloria Loring.\u003c/p>\n\u003cp>In an email, Loring described Thicke’s passing as “a shock. We were all just together for Thanksgiving. He was funny, talented and deeply devoted to his family.”\u003c/p>\n\u003cp>Thicke also leaves a son, Carter, from his marriage to second wife Gina Tolleson. He had been married to Tanya Callau since 2005.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>___\u003cbr>\nAP Entertainment Writer Anthony McCartney in Los Angeles and AP Music Writer Mesfin Fekadu in New York contributed to this report.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Alan Thicke, a versatile performer who gained his greatest renown as the beloved dad on a long-running sitcom, has died at age 69.\u003c/p>\n\u003cp>Carleen Donovan, who is a publicist for Thicke’s son, singer Robin Thicke, said the actor died from a heart attack on Tuesday in Los Angeles. She had no further details.\u003c/p>\n\u003cp>Thicke was a Canadian-born TV host, writer, composer and actor well-known in his homeland before making his name in the United States, most notably with the ABC series \u003cem>Growing Pains\u003c/em>.\u003c/p>\n\u003cp>On that comedy, which aired from 1985 to 1992, Thicke played Dr. Jason Seaver, a psychiatrist and father-knows-best who moved his practice into his home so his wife could go back to work as a reporter. Along with his clients, he had three (later four) kids under foot, including his oldest son, Mike, played by breakout heart-throb Kirk Cameron, who served as a constant source of comedic trouble for the family.\u003c/p>\n\u003cp>Born in Ontario, Canada, in 1947, Thicke was nominated for three Emmy Awards for his work in the late 1970s as a writer for Barry Manilow’s talk show, and later for a satirical take on the genre in the variety show \u003cem>America 2-Night\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>He composed several popular theme songs, including the original theme for \u003cem>The Wheel of Fortune\u003c/em> and other shows including \u003cem>The Facts of Life\u003c/em> and \u003cem>Diff’rent Strokes\u003c/em>.\u003c/p>\n\u003cp>Perhaps his boldest assault on the U.S. market was as a virtual unknown taking on the King of Late Night, Johnny Carson. \u003cem>Thicke of the Night\u003c/em> was a syndicated talk-music-and-comedy show meant to go head-to-head against NBC’s \u003cem>The Tonight Show Starring Johnny Carson\u003c/em>.\u003c/p>\n\u003cp>It premiered in September 1983 with great fanfare, boasting an innovative format and regulars including Richard Belzer, Arsenio Hall, Gilbert Gottfried and Fred Willard. But all too quickly, it was evident that Carson wasn’t going to be dethroned, and the ambitious \u003cem>Thicke\u003c/em> disappeared into the night after one season.\u003c/p>\n\u003cp>In the 1990s and beyond, Thicke stayed busy as a celebrity TV host and with guest shots on dozens of series, including \u003cem>How I Met Your Mother\u003c/em> and, this year, the Netflix series \u003cem>Fuller House\u003c/em> and the NBC drama \u003cem>This Is Us\u003c/em>.\u003c/p>\n\u003cp>Celebrities who had crossed paths with Thicke, whether through music, acting or simply as friends, expressed their sorrow at news of his death.\u003c/p>\n\u003cp>“I grew up watching him and got to know him through Robin. He was always so kind to me,” John Legend posted on Twitter.\u003c/p>\n\u003cp>“You were a part of my family and hockey family. You will be greatly missed. My heart hurts,” Candace Cameron Bure tweeted.\u003c/p>\n\u003cp>“RIP dear friend and gentleman,” posted Marlee Matlin.\u003c/p>\n\u003cp>Thicke’s fellow Canadians also responded quickly.\u003c/p>\n\u003cp>William Shatner tweeted that he was saddened by his friend’s loss, and singer Anne Murray’s Twitter post said she was “shocked and devastated,” recalling him as a friend as well as a writer and producer of many of her TV specials.\u003c/p>\n\u003cp>The Edmonton Oilers also weighed in.\u003c/p>\n\u003cp>“RIP to one of the great ones, Alan Thicke,” was posted on the hockey team’s website, with a photo of a young Thicke and Wayne Gretzky on the ice.\u003c/p>\n\u003cp>Like any good Canadian, Thicke was a hockey fan, frequently attending LA Kings games. He took credit for introducing the sport to celebrity friends.\u003c/p>\n\u003cp>He began playing at age 5, but acknowledged he wasn’t very good at it.\u003c/p>\n\u003cp>“You were expected to play,” he said in 1998. “I was never good enough for the big time, but I always had fun at it.”\u003c/p>\n\u003cp>In 2003, Thicke received 30 stitches and lost five teeth after he was struck by a puck while practicing for a celebrity fundraising hockey game. “I won’t be playing any leading men roles in the next couple of months,” he joked after the accident.\u003c/p>\n\u003cp>He had the satisfaction of seeing his musical skills passed down to son Robin, a successful singer-songwriter and producer who, with brother Brennan, was born to Thicke and the first of his three wives, Gloria Loring.\u003c/p>\n\u003cp>In an email, Loring described Thicke’s passing as “a shock. We were all just together for Thanksgiving. He was funny, talented and deeply devoted to his family.”\u003c/p>\n\u003cp>Thicke also leaves a son, Carter, from his marriage to second wife Gina Tolleson. He had been married to Tanya Callau since 2005.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>___\u003cbr>\nAP Entertainment Writer Anthony McCartney in Los Angeles and AP Music Writer Mesfin Fekadu in New York contributed to this report.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Alex Vega, Artist and Hip-Hop Promoter with 'So Much More to Share'",
"headTitle": "Alex Vega, Artist and Hip-Hop Promoter with ‘So Much More to Share’ | KQED",
"content": "\u003cp>Alex Vega, 22, and his girlfriend, Michela Gregory, 20, went to the Ghost Ship warehouse on Friday, Dec. 2 to dance. The two had been dating for five years and, by friends’ accounts, loved music, art, and each other.\u003c/p>\n\u003cp>“Honestly, I believe they were made for each other,” Vega’s best friend Alex Vargas told the \u003cem>East Bay Times\u003c/em>. \u003c/p>\n\u003cp>Vega and Gregory both worked at Duggan’s Serra Mortuary in Daly City. Vega also worked as a valet attendant for Peninsula Parking. Raised in San Bruno, where he still lived with his parents to save money, Vega graduated from Capuchino High School in 2012.\u003c/p>\n\u003cfigure id=\"attachment_12479262\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/alex-and-michela-800x789.jpg\" alt=\"Alex Vega and Michela Gregory\" width=\"800\" height=\"789\" class=\"size-medium wp-image-12479262\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/alex-and-michela-800x789.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/alex-and-michela-160x158.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/alex-and-michela-768x758.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/alex-and-michela-1020x1006.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/alex-and-michela-960x947.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/alex-and-michela-240x237.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/alex-and-michela-375x370.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/alex-and-michela-520x513.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/alex-and-michela-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/alex-and-michela-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/alex-and-michela-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/alex-and-michela-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/alex-and-michela.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Alex Vega and Michela Gregory \u003ccite>(Courtesy of Facebook)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Alex was very shy when you first met him,” says Lucero Govea, a wellness counselor at Capuchino who was close with Vega. “But once you got him to open up he had so much to share.”\u003c/p>\n\u003cp>Vega was interested in painting, graffiti and hip-hop music. With friends, he helped to organize underground rap shows in the Bay Area. He also loved cars, and had saved up enough money to buy his dream ride last year: a 1999 silver Mazda Miata. After the fire, that car was still parked at the San Bruno BART station where the couple had left it before the party. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The day after the fire, standing outside the burned out remains of the warehouse on 31st Street, Vega’s brother Dan spoke about how close he was with his “baby brother,” despite the 14 year age difference between them, and how much family meant to Vega. \u003c/p>\n\u003cp>“He was a quiet and artistic young man, who loved his family very much,” Govea says. “He still had so much more to share.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>For more of our tributes to the victims of the Oakland warehouse fire, please visit our \u003ca href=\"https://ww2.kqed.org/arts/programs/oakland-warehouse-memorial/\" target=\"_blank\" rel=\"noopener\">remembrances page here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>For a printable poster of the illustration above, \u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/alexvegaedit.pdf\" target=\"_blank\" rel=\"noopener\">see here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Vega was interested in painting, graffiti, cars and and hip-hop, but was perhaps most enamored with his girlfriend, who died in his arms.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Alex Vega, 22, and his girlfriend, Michela Gregory, 20, went to the Ghost Ship warehouse on Friday, Dec. 2 to dance. The two had been dating for five years and, by friends’ accounts, loved music, art, and each other.\u003c/p>\n\u003cp>“Honestly, I believe they were made for each other,” Vega’s best friend Alex Vargas told the \u003cem>East Bay Times\u003c/em>. \u003c/p>\n\u003cp>Vega and Gregory both worked at Duggan’s Serra Mortuary in Daly City. Vega also worked as a valet attendant for Peninsula Parking. Raised in San Bruno, where he still lived with his parents to save money, Vega graduated from Capuchino High School in 2012.\u003c/p>\n\u003cfigure id=\"attachment_12479262\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/alex-and-michela-800x789.jpg\" alt=\"Alex Vega and Michela Gregory\" width=\"800\" height=\"789\" class=\"size-medium wp-image-12479262\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/alex-and-michela-800x789.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/alex-and-michela-160x158.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/alex-and-michela-768x758.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/alex-and-michela-1020x1006.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/alex-and-michela-960x947.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/alex-and-michela-240x237.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/alex-and-michela-375x370.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/alex-and-michela-520x513.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/alex-and-michela-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/alex-and-michela-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/alex-and-michela-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/alex-and-michela-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/alex-and-michela.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Alex Vega and Michela Gregory \u003ccite>(Courtesy of Facebook)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Alex was very shy when you first met him,” says Lucero Govea, a wellness counselor at Capuchino who was close with Vega. “But once you got him to open up he had so much to share.”\u003c/p>\n\u003cp>Vega was interested in painting, graffiti and hip-hop music. With friends, he helped to organize underground rap shows in the Bay Area. He also loved cars, and had saved up enough money to buy his dream ride last year: a 1999 silver Mazda Miata. After the fire, that car was still parked at the San Bruno BART station where the couple had left it before the party. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The day after the fire, standing outside the burned out remains of the warehouse on 31st Street, Vega’s brother Dan spoke about how close he was with his “baby brother,” despite the 14 year age difference between them, and how much family meant to Vega. \u003c/p>\n\u003cp>“He was a quiet and artistic young man, who loved his family very much,” Govea says. “He still had so much more to share.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>For more of our tributes to the victims of the Oakland warehouse fire, please visit our \u003ca href=\"https://ww2.kqed.org/arts/programs/oakland-warehouse-memorial/\" target=\"_blank\" rel=\"noopener\">remembrances page here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>For a printable poster of the illustration above, \u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/alexvegaedit.pdf\" target=\"_blank\" rel=\"noopener\">see here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>When friends remember Nick Gomez-Hall, they remember his kindness, creativity and passion for music.\u003c/p>\n\u003cp>A 25-year-old San Diego native, Gomez-Hall was an employee at \u003ca href=\"http://www.counterpointpress.com/\" target=\"_blank\" rel=\"noopener\">Counterpoint Press\u003c/a> at the time of the Ghost Ship fire. The Berkeley-based book publisher posted a statement on its Facebook page about Gomez-Hall, saying he became a part of their family the second he started working there.\u003c/p>\n\u003cfigure id=\"attachment_12476389\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12476389\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/Nick-Gomez-Hall.jpg\" alt=\"Nick Gomez-Hall\" width=\"640\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Nick-Gomez-Hall.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Nick-Gomez-Hall-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Nick-Gomez-Hall-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Nick-Gomez-Hall-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Nick-Gomez-Hall-520x780.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Nick Gomez-Hall.\u003c/figcaption>\u003c/figure>\n\u003cp>“Whether he was recommending new music to listen to (and it was always so good), regaling us with tales of the bowling alley, offering his beloved truck for a ride if anyone needed it, or sharing his much appreciated opinions about a book jacket or manuscript, he made everyone feel like they were his friend,” \u003ca href=\"https://www.facebook.com/counterpointpress/photos/a.352524626306.158146.262610761306/10153846858891307/?type=3&theater\" target=\"_blank\" rel=\"noopener\">the post says\u003c/a>.\u003c/p>\n\u003cp>Before moving to the Bay Area, Gomez-Hall graduated from Brown University. He was active in the music scene in Providence, Rhode Island, playing in a band called Nightmom with fellow Brown student Travis Lloyd. In tribute to Gomez-Hall after his death, Lloyd posted two tracks the band recorded on \u003ca href=\"https://nightmom.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Bandcamp\u003c/a>. In a \u003ca href=\"https://www.facebook.com/photo.php?fbid=10207497005287179&set=a.1874972317941.2095999.1350180133&type=3&theater\" target=\"_blank\" rel=\"noopener\">Facebook post\u003c/a> about the songs, Lloyd wrote that he hoped the music “makes everyone feel closer to you in this time of deep sadness and shock.”\u003c/p>\n\u003cp>“If there’s one thing you taught me it’s to feel this deeply right now, to share it, and to grow closer with the world in the process,” Lloyd writes.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=4029742587/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=2210516697/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>Gomez-Hall’s creative outlets went beyond music: his photography can be seen \u003ca href=\"http://saddle--tramp.tumblr.com/\" target=\"_blank\" rel=\"noopener\">on Tumblr\u003c/a>, and he was a published short story writer. \u003ca href=\"http://www.theindy.org/a/78\" target=\"_blank\" rel=\"noopener\"> One of his stories\u003c/a> is on the website for the \u003cem>Indy\u003c/em>, Providence’s alternative weekly newspaper. The story is told from the viewpoint of a carpenter watching his lifetime of work — houses he built — crumbling away over the years.\u003c/p>\n\u003cp>“You can be a fine carpenter but things still might not work out,” Gomez-Hall writes. “That was the case for me. The wind was always just so much stronger than my work.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Listen to Gomez-Hall’s songs with Nightmom \u003ca href=\"https://nightmom.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003cbr>\n\u003c/em>\u003cbr>\n\u003cem>See Gomez-Hall’s photography \u003ca href=\"http://saddle--tramp.tumblr.com/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003cbr>\n\u003c/em>\u003cbr>\n\u003cem>Read ‘Once a House is Built,’ a short story by Gomez-Hall, \u003ca href=\"http://www.theindy.org/a/78\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cem>For more of our tributes to the victims of the Oakland warehouse fire, please visit our \u003ca href=\"https://ww2.kqed.org/arts/programs/oakland-warehouse-memorial/\" target=\"_blank\" rel=\"noopener\">remembrances page here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>For a printable poster of the illustration above, \u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/nickgomezedit.pdf\" target=\"_blank\" rel=\"noopener\">see here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When friends remember Nick Gomez-Hall, they remember his kindness, creativity and passion for music.\u003c/p>\n\u003cp>A 25-year-old San Diego native, Gomez-Hall was an employee at \u003ca href=\"http://www.counterpointpress.com/\" target=\"_blank\" rel=\"noopener\">Counterpoint Press\u003c/a> at the time of the Ghost Ship fire. The Berkeley-based book publisher posted a statement on its Facebook page about Gomez-Hall, saying he became a part of their family the second he started working there.\u003c/p>\n\u003cfigure id=\"attachment_12476389\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12476389\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/Nick-Gomez-Hall.jpg\" alt=\"Nick Gomez-Hall\" width=\"640\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Nick-Gomez-Hall.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Nick-Gomez-Hall-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Nick-Gomez-Hall-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Nick-Gomez-Hall-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Nick-Gomez-Hall-520x780.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Nick Gomez-Hall.\u003c/figcaption>\u003c/figure>\n\u003cp>“Whether he was recommending new music to listen to (and it was always so good), regaling us with tales of the bowling alley, offering his beloved truck for a ride if anyone needed it, or sharing his much appreciated opinions about a book jacket or manuscript, he made everyone feel like they were his friend,” \u003ca href=\"https://www.facebook.com/counterpointpress/photos/a.352524626306.158146.262610761306/10153846858891307/?type=3&theater\" target=\"_blank\" rel=\"noopener\">the post says\u003c/a>.\u003c/p>\n\u003cp>Before moving to the Bay Area, Gomez-Hall graduated from Brown University. He was active in the music scene in Providence, Rhode Island, playing in a band called Nightmom with fellow Brown student Travis Lloyd. In tribute to Gomez-Hall after his death, Lloyd posted two tracks the band recorded on \u003ca href=\"https://nightmom.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Bandcamp\u003c/a>. In a \u003ca href=\"https://www.facebook.com/photo.php?fbid=10207497005287179&set=a.1874972317941.2095999.1350180133&type=3&theater\" target=\"_blank\" rel=\"noopener\">Facebook post\u003c/a> about the songs, Lloyd wrote that he hoped the music “makes everyone feel closer to you in this time of deep sadness and shock.”\u003c/p>\n\u003cp>“If there’s one thing you taught me it’s to feel this deeply right now, to share it, and to grow closer with the world in the process,” Lloyd writes.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=4029742587/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=2210516697/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>Gomez-Hall’s creative outlets went beyond music: his photography can be seen \u003ca href=\"http://saddle--tramp.tumblr.com/\" target=\"_blank\" rel=\"noopener\">on Tumblr\u003c/a>, and he was a published short story writer. \u003ca href=\"http://www.theindy.org/a/78\" target=\"_blank\" rel=\"noopener\"> One of his stories\u003c/a> is on the website for the \u003cem>Indy\u003c/em>, Providence’s alternative weekly newspaper. The story is told from the viewpoint of a carpenter watching his lifetime of work — houses he built — crumbling away over the years.\u003c/p>\n\u003cp>“You can be a fine carpenter but things still might not work out,” Gomez-Hall writes. “That was the case for me. The wind was always just so much stronger than my work.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Listen to Gomez-Hall’s songs with Nightmom \u003ca href=\"https://nightmom.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003cbr>\n\u003c/em>\u003cbr>\n\u003cem>See Gomez-Hall’s photography \u003ca href=\"http://saddle--tramp.tumblr.com/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003cbr>\n\u003c/em>\u003cbr>\n\u003cem>Read ‘Once a House is Built,’ a short story by Gomez-Hall, \u003ca href=\"http://www.theindy.org/a/78\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cem>For more of our tributes to the victims of the Oakland warehouse fire, please visit our \u003ca href=\"https://ww2.kqed.org/arts/programs/oakland-warehouse-memorial/\" target=\"_blank\" rel=\"noopener\">remembrances page here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>For a printable poster of the illustration above, \u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/nickgomezedit.pdf\" target=\"_blank\" rel=\"noopener\">see here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Griffin Madden, 'Extremely Smart, Gifted' Student and Broad-Minded DJ",
"headTitle": "Griffin Madden, ‘Extremely Smart, Gifted’ Student and Broad-Minded DJ | KQED",
"content": "\u003cp>Those who were close to Griffin Madden, 23, say that he disliked the aphorism “YOLO” — “You Only Live Once” — and much preferred “YOLF”: “You Only Live Forever.” \u003c/p>\n\u003cp>This outlook is clearly encapsulated in a description from Madden’s girlfriend, Saya Tomioka, about a date the couple enjoyed together in New York City: “We spent the whole night laughing our asses off during \u003cem>The Book of Mormon\u003c/em> on Broadway,” Tomioka writes on Facebook. “I can still feel your laughter shaking my seat. Then you tried to impress me by buying a pretzel and bargaining the seller to drop the price by a dollar. Then we walked to Times Square. I can still feel the rush of life from that very moment. The lights filled my heart with excitement; the massive number of people energized every fiber of my being. And right beside me was my best friend, my brightest love.”\u003c/p>\n\u003cfigure id=\"attachment_12480649\" class=\"wp-caption aligncenter\" style=\"max-width: 615px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/GriffinMadden4-1.jpg\" alt=\"Griffin Madden and Saya Tomioka.\" width=\"615\" height=\"462\" class=\"size-full wp-image-12480649\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/GriffinMadden4-1.jpg 615w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/GriffinMadden4-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/GriffinMadden4-1-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/GriffinMadden4-1-375x282.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/GriffinMadden4-1-520x391.jpg 520w\" sizes=\"(max-width: 615px) 100vw, 615px\">\u003cfigcaption class=\"wp-caption-text\">Griffin Madden and Saya Tomioka. \u003ccite>(via Facebook)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Madden graduated from UC Berkeley in 2015 with a double major in philosophy and Slavic languages and literature. He spent two summers participating in a program at Middlebury College, throughout which he spoke exclusively in Russian. He recently won a full-time position at UC Berkeley’s performing arts presenter Cal Performances as an audience services associate after ushering at the venue for five years. \u003c/p>\n\u003cp>As a part of the collective Tri Works, Madden often made mixes to post to Soundcloud and DJed parties in the Bay Area. Three days after the warehouse fire, he was scheduled to DJ in San Francisco with Golden Donna and Cherushii, two musicians on the bill at Ghost Ship the night of the fire.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/263628439″ params=”auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true” width=”100%” height=”325″ iframe=”true” /]\u003c/p>\n\u003cp>Friend Sean Sumler says Madden possessed infectious positivity and great creativity. As a DJ and passionate clubber, Madden’s passion for music extended across many genres, including jazz, choral, classical and world music. “During one show where I performed in San Francisco, I remember Griffin dancing directly in front of me and my table,” Sumler says. “While he danced, it was obvious that he and I had the same investment in making the room move.”\u003c/p>\n\u003cfigure id=\"attachment_12479243\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/Griffin-Madden.jpg\" alt=\"Griffin Madden and Saya Tomioka\" width=\"640\" height=\"960\" class=\"size-full wp-image-12479243\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Griffin-Madden.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Griffin-Madden-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Griffin-Madden-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Griffin-Madden-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Griffin-Madden-520x780.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Griffin Madden and Saya Tomioka in Times Square. \u003ccite>(Arken Avan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>An artist who knew Madden and asked not to be named remembers a night at The Lab. “I believe it was Griffin’s first time to The Lab and he was just in utter paradise,” she says. “He was so excited about everything that was happening, and everyone who was there, and how fabulous and talented they all were. I haven’t met many people who were nearly as excited to be amongst art, talent and friends like he was. I hung out with him for a while that night talking about his school and philosophy. He was really interested in Heidegger and we got talking about that for a long time. He was an extremely smart, gifted young man that brought everyone he met joy.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“That’s the spirit and the way we choose to remember Griffin,” says Madden’s father, Mike, who describes his son an original thinker with an unquenchable curiosity. Father and son often engaged in long philosophical discussions sparked by questions like, “What is the meaning of time? And does time even exist?”\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/279186760″ params=”auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true” width=”100%” height=”150″ iframe=”true” /]\u003c/p>\n\u003cp>“Your light touched so, so, so, many people, and you taught/will continue to teach us to live our lives just as fully, youthfully and kindly as you did,” writes Tomioka on Facebook. “I promise you that I will never stop dancing; I’ll dance even harder. I will never stop laughing; I’ll laugh even louder. I will never stop loving; I’ll love even prouder.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>To hear Madden’s mixes, see \u003ca href=\"https://soundcloud.com/griffinm12\" target=\"_blank\" rel=\"noopener\">his Soundcloud page\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cem>For his involvement in Tri Works, see \u003ca href=\"https://soundcloud.com/Tri_works\" target=\"_blank\" rel=\"noopener\">Tri Works’ Soundcloud page\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003cem>To read a heartwarming story of how the above photograph taken in Times Square came back into Tomioka’s possession, \u003ca href=\"http://www.nbcbayarea.com/news/local/Facebook-Miracle-Girlfriend-of-Oakland-Warehouse-Fire-Victim-Finds-Photo-She-Had-Been-Searching-For-405485915.html\" target=\"_blank\" rel=\"noopener\">see here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cem>For more of our tributes to the victims of the Oakland warehouse fire, please visit our \u003ca href=\"https://ww2.kqed.org/arts/programs/oakland-warehouse-memorial/\" target=\"_blank\" rel=\"noopener\">remembrances page here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>For a printable poster of the illustration above, \u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/griffinmaddenedit.pdf\" target=\"_blank\" rel=\"noopener\">see here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "As a part of the collective Tri Works, Madden often DJed parties in the Bay Area, with a passion for music that extended across jazz, choral, classical and world music.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Those who were close to Griffin Madden, 23, say that he disliked the aphorism “YOLO” — “You Only Live Once” — and much preferred “YOLF”: “You Only Live Forever.” \u003c/p>\n\u003cp>This outlook is clearly encapsulated in a description from Madden’s girlfriend, Saya Tomioka, about a date the couple enjoyed together in New York City: “We spent the whole night laughing our asses off during \u003cem>The Book of Mormon\u003c/em> on Broadway,” Tomioka writes on Facebook. “I can still feel your laughter shaking my seat. Then you tried to impress me by buying a pretzel and bargaining the seller to drop the price by a dollar. Then we walked to Times Square. I can still feel the rush of life from that very moment. The lights filled my heart with excitement; the massive number of people energized every fiber of my being. And right beside me was my best friend, my brightest love.”\u003c/p>\n\u003cfigure id=\"attachment_12480649\" class=\"wp-caption aligncenter\" style=\"max-width: 615px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/GriffinMadden4-1.jpg\" alt=\"Griffin Madden and Saya Tomioka.\" width=\"615\" height=\"462\" class=\"size-full wp-image-12480649\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/GriffinMadden4-1.jpg 615w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/GriffinMadden4-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/GriffinMadden4-1-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/GriffinMadden4-1-375x282.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/GriffinMadden4-1-520x391.jpg 520w\" sizes=\"(max-width: 615px) 100vw, 615px\">\u003cfigcaption class=\"wp-caption-text\">Griffin Madden and Saya Tomioka. \u003ccite>(via Facebook)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Madden graduated from UC Berkeley in 2015 with a double major in philosophy and Slavic languages and literature. He spent two summers participating in a program at Middlebury College, throughout which he spoke exclusively in Russian. He recently won a full-time position at UC Berkeley’s performing arts presenter Cal Performances as an audience services associate after ushering at the venue for five years. \u003c/p>\n\u003cp>As a part of the collective Tri Works, Madden often made mixes to post to Soundcloud and DJed parties in the Bay Area. Three days after the warehouse fire, he was scheduled to DJ in San Francisco with Golden Donna and Cherushii, two musicians on the bill at Ghost Ship the night of the fire.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”325″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/263628439″&visual=true&”auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true”'\n title='”https://api.soundcloud.com/tracks/263628439″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Friend Sean Sumler says Madden possessed infectious positivity and great creativity. As a DJ and passionate clubber, Madden’s passion for music extended across many genres, including jazz, choral, classical and world music. “During one show where I performed in San Francisco, I remember Griffin dancing directly in front of me and my table,” Sumler says. “While he danced, it was obvious that he and I had the same investment in making the room move.”\u003c/p>\n\u003cfigure id=\"attachment_12479243\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/Griffin-Madden.jpg\" alt=\"Griffin Madden and Saya Tomioka\" width=\"640\" height=\"960\" class=\"size-full wp-image-12479243\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Griffin-Madden.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Griffin-Madden-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Griffin-Madden-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Griffin-Madden-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Griffin-Madden-520x780.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Griffin Madden and Saya Tomioka in Times Square. \u003ccite>(Arken Avan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>An artist who knew Madden and asked not to be named remembers a night at The Lab. “I believe it was Griffin’s first time to The Lab and he was just in utter paradise,” she says. “He was so excited about everything that was happening, and everyone who was there, and how fabulous and talented they all were. I haven’t met many people who were nearly as excited to be amongst art, talent and friends like he was. I hung out with him for a while that night talking about his school and philosophy. He was really interested in Heidegger and we got talking about that for a long time. He was an extremely smart, gifted young man that brought everyone he met joy.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“That’s the spirit and the way we choose to remember Griffin,” says Madden’s father, Mike, who describes his son an original thinker with an unquenchable curiosity. Father and son often engaged in long philosophical discussions sparked by questions like, “What is the meaning of time? And does time even exist?”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”150″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/279186760″&visual=true&”auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true”'\n title='”https://api.soundcloud.com/tracks/279186760″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“Your light touched so, so, so, many people, and you taught/will continue to teach us to live our lives just as fully, youthfully and kindly as you did,” writes Tomioka on Facebook. “I promise you that I will never stop dancing; I’ll dance even harder. I will never stop laughing; I’ll laugh even louder. I will never stop loving; I’ll love even prouder.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>To hear Madden’s mixes, see \u003ca href=\"https://soundcloud.com/griffinm12\" target=\"_blank\" rel=\"noopener\">his Soundcloud page\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cem>For his involvement in Tri Works, see \u003ca href=\"https://soundcloud.com/Tri_works\" target=\"_blank\" rel=\"noopener\">Tri Works’ Soundcloud page\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003cem>To read a heartwarming story of how the above photograph taken in Times Square came back into Tomioka’s possession, \u003ca href=\"http://www.nbcbayarea.com/news/local/Facebook-Miracle-Girlfriend-of-Oakland-Warehouse-Fire-Victim-Finds-Photo-She-Had-Been-Searching-For-405485915.html\" target=\"_blank\" rel=\"noopener\">see here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cem>For more of our tributes to the victims of the Oakland warehouse fire, please visit our \u003ca href=\"https://ww2.kqed.org/arts/programs/oakland-warehouse-memorial/\" target=\"_blank\" rel=\"noopener\">remembrances page here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>For a printable poster of the illustration above, \u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/griffinmaddenedit.pdf\" target=\"_blank\" rel=\"noopener\">see here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Jason 'JSUN' McCarty, Boundary-Pushing Sound Artist and Illustrator",
"headTitle": "Jason ‘JSUN’ McCarty, Boundary-Pushing Sound Artist and Illustrator | KQED",
"content": "\u003cp>Jason McCarty, known to the Bay Area art scene as “JSUN,” was a multi-talented visual and sound artist who didn’t shy away from creating confrontational art experiences. In intricate ink on paper drawings, he depicted scenes of frenetic, uncontainable activity. His sound performances were described as electric, visceral bombardments of pure energy. “Rock was a fad, electronic music is forever,” he \u003ca href=\"https://twitter.com/dilatedears/status/768162925286608900\" target=\"_blank\" rel=\"noopener\">once wrote in a tweet\u003c/a>. \u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/272387441″ params=”auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true” width=”100%” height=”150″ iframe=”true” /]\u003c/p>\n\u003cp>A 2008 graduate of San Francisco Art Institute’s (SFAI) post-baccalaureate and MFA programs, friends and former classmates remember McCarty as a boundary-pushing artist with a warm, welcoming personality.\u003c/p>\n\u003cp>Friend and fellow SFAI classmate Jeremiah Jenkins remembers McCarty as a fixture at the school’s Third Street studios. “He didn’t have a place to live, so he lived in the studio,” Jenkins says. “He was there when I would leave and when I got there early in the morning. He was 100 percent committed.”\u003c/p>\n\u003cfigure id=\"attachment_12479252\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/jsun_in_hole_photo_by_Colby_Claycomb-800x598.jpg\" alt=\"Jsun during 'The Weather Reconnaissance' \" width=\"800\" height=\"598\" class=\"size-medium wp-image-12479252\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/jsun_in_hole_photo_by_Colby_Claycomb-800x598.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/jsun_in_hole_photo_by_Colby_Claycomb-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/jsun_in_hole_photo_by_Colby_Claycomb-768x574.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/jsun_in_hole_photo_by_Colby_Claycomb-1020x763.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/jsun_in_hole_photo_by_Colby_Claycomb-1180x883.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/jsun_in_hole_photo_by_Colby_Claycomb-960x718.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/jsun_in_hole_photo_by_Colby_Claycomb-240x179.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/jsun_in_hole_photo_by_Colby_Claycomb-375x280.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/jsun_in_hole_photo_by_Colby_Claycomb-520x389.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/jsun_in_hole_photo_by_Colby_Claycomb.jpg 1892w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jsun during ‘The Weather Reconnaissance’ \u003ccite>(Photo: Colby Claycomb)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In October 2008, McCarty participated in \u003ci>The Weather Reconnaissance\u003c/i>, a show curated by artists Jenna North and Peter Foucault as part of \u003ca href=\"http://www.justinhoover.com/the-garage-biennale/\" target=\"_blank\" rel=\"noopener\">The Garage Biennial\u003c/a>, an experimental exhibition program hosted by fellow SFAI grad Justin Hoover in the garage of his family’s Pacific Heights home. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>McCarty’s piece centered around an enormous globe suspended over the mechanic’s pit in the garage. A network of electronic nodes attached to the globe connected to mixers, consoles, amplifiers and effects pedals strewn on the floor. \u003c/p>\n\u003cp>North says McCarty and his collaborator dressed like members of a secret underground militia. “The was a sense of this covert operation he was conducting,” North says. “I honestly believe that he believed he was communicating with higher forces in his attempts to control atmospheric forces through sound. He had a sign next to the hole that said, ‘Shhhh — I’m talking to God.’” \u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/189247033″ params=”auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true” width=”100%” height=”150″ iframe=”true” /]\u003c/p>\n\u003cp>If McCarty expected silence from his audience, he filled that vacuum with more sound than any gathered crowd could ever possibly produce. “It was really wild and loud and abrasive and he didn’t give a shit,” Hoover says of the two-hour performance for \u003ci>The Weather Reconnaissance\u003c/i>. “He intentionally pushed buttons. People couldn’t handle it.”\u003c/p>\n\u003cfigure id=\"attachment_12479256\" class=\"wp-caption alignright\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/JasonMcCarty.jpg\" alt=\"Jason McCarty\" width=\"720\" height=\"960\" class=\"size-full wp-image-12479256\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/JasonMcCarty.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/JasonMcCarty-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/JasonMcCarty-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/JasonMcCarty-375x500.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/JasonMcCarty-520x693.jpg 520w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">Jason McCarty\u003c/figcaption>\u003c/figure>\n\u003cp>Oakland-based filmmaker Cyrus Tabar remembers meeting McCarty through the Artists’ Television Access community. He relished the sensory overload of McCarty’s performances. “I always knew when he was sitting with his gear that I had to prepare myself,” Tabar says. “Sometimes it was so intense you’d want to be going to the door. It was just like this intensity, this electricity he had. He wasn’t the kind of guy who would just press play on his laptop.”\u003c/p>\n\u003cp>Former classmates at SFAI remember McCarty sampling sounds in the studio hallway. They would often find him hitting a drumstick against any reverberant object. “He was the noisemaker,” his friend Will Barclift says. “He didn’t do it for anyone else. As an artist he was someone who pushed the boundaries.” \u003c/p>\n\u003cp>After SFAI, McCarty connected with the Oakland warehouse scene, living and performing in spaces like the Ghost Ship warehouse. He remained dedicated to his practice. “10pm is always such a tragic time for me,” he \u003ca href=\"https://twitter.com/dilatedears/status/779181733270859776\" target=\"_blank\" rel=\"noopener\">tweeted on Sept. 22\u003c/a>, “cuz that’s when my neighbor starts banging on the wall and I have to discontinue making music.” \u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/189245650″ params=”auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true” width=”100%” height=”150″ iframe=”true” /]\u003c/p>\n\u003cp>As raw and wild as his music was, McCarty is remembered by friends as a tender and compassionate person. “A lot of artists get this voice and they use that voice to challenge other people to hear that voice,” Jenkins says. “But with Jsun, he was just inviting. It’s really hard to find people like that in the art world.”\u003c/p>\n\u003cp>“He was so secure in his own skin and it just made everybody else want to be that way,” says artist and friend Gera Lozano. “He believed in himself. And I think all of his friends believed in him too. We were just waiting for him to blow up, it was a matter of time.”\u003c/p>\n\u003cfigure id=\"attachment_12479255\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/Interior-on-LSD-tumblr-800x552.jpg\" alt='\"Interior on LSD\" by Jsun' width=\"800\" height=\"552\" class=\"size-medium wp-image-12479255\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Interior-on-LSD-tumblr-800x552.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Interior-on-LSD-tumblr-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Interior-on-LSD-tumblr-768x530.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Interior-on-LSD-tumblr-1020x704.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Interior-on-LSD-tumblr-1180x815.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Interior-on-LSD-tumblr-960x663.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Interior-on-LSD-tumblr-240x166.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Interior-on-LSD-tumblr-375x259.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Interior-on-LSD-tumblr-520x359.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Interior-on-LSD-tumblr.jpg 1231w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Interior on LSD” by Jsun\u003c/figcaption>\u003c/figure>\n\u003cp>Since Dec. 2, both Jenkins and Barclift have found themselves reminded of McCarty in unlikely sonic spaces. For Barclift, it’s in the discordant mess of car radio static. “That was something he could listen to and actually create meaning out of it and use in his art,” Barclift says. “It was just so perfect, it made me grin immediately.”\u003c/p>\n\u003cp>Likewise, in the wake of the Oakland warehouse fire, Jenkins attended a community vigil, and “the only place I could find to stand was next to these humming generators,” he says. “I couldn’t hear anything else. I thought, this is the space that he would be fine with and that he would want to occupy: an uncomfortable space.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Listen to more of McCarty’s music as Dilatedears at \u003ca href=\"https://soundcloud.com/slanguages\" target=\"_blank\" rel=\"noopener\">his Soundcloud page\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cem>See McCarty’s artwork and photography at \u003ca href=\"http://dilatedears.tumblr.com/\" target=\"_blank\" rel=\"noopener\">his Tumblr\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cem>More artwork and photography can be found at \u003ca href=\"https://www.instagram.com/dilatedears/\" target=\"_blank\" rel=\"noopener\">McCarty’s Instagram page\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cem>For more of our tributes to the victims of the Oakland warehouse fire, please visit our \u003ca href=\"https://ww2.kqed.org/arts/programs/oakland-warehouse-memorial/\" target=\"_blank\" rel=\"noopener\">remembrances page here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>For a printable poster of the illustration above, \u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/jasonmccartyedit.pdf\" target=\"_blank\" rel=\"noopener\">see here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Jason McCarty, known to the Bay Area art scene as “JSUN,” was a multi-talented visual and sound artist who didn’t shy away from creating confrontational art experiences. In intricate ink on paper drawings, he depicted scenes of frenetic, uncontainable activity. His sound performances were described as electric, visceral bombardments of pure energy. “Rock was a fad, electronic music is forever,” he \u003ca href=\"https://twitter.com/dilatedears/status/768162925286608900\" target=\"_blank\" rel=\"noopener\">once wrote in a tweet\u003c/a>. \u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”150″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/272387441″&visual=true&”auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true”'\n title='”https://api.soundcloud.com/tracks/272387441″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>A 2008 graduate of San Francisco Art Institute’s (SFAI) post-baccalaureate and MFA programs, friends and former classmates remember McCarty as a boundary-pushing artist with a warm, welcoming personality.\u003c/p>\n\u003cp>Friend and fellow SFAI classmate Jeremiah Jenkins remembers McCarty as a fixture at the school’s Third Street studios. “He didn’t have a place to live, so he lived in the studio,” Jenkins says. “He was there when I would leave and when I got there early in the morning. He was 100 percent committed.”\u003c/p>\n\u003cfigure id=\"attachment_12479252\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/jsun_in_hole_photo_by_Colby_Claycomb-800x598.jpg\" alt=\"Jsun during 'The Weather Reconnaissance' \" width=\"800\" height=\"598\" class=\"size-medium wp-image-12479252\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/jsun_in_hole_photo_by_Colby_Claycomb-800x598.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/jsun_in_hole_photo_by_Colby_Claycomb-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/jsun_in_hole_photo_by_Colby_Claycomb-768x574.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/jsun_in_hole_photo_by_Colby_Claycomb-1020x763.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/jsun_in_hole_photo_by_Colby_Claycomb-1180x883.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/jsun_in_hole_photo_by_Colby_Claycomb-960x718.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/jsun_in_hole_photo_by_Colby_Claycomb-240x179.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/jsun_in_hole_photo_by_Colby_Claycomb-375x280.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/jsun_in_hole_photo_by_Colby_Claycomb-520x389.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/jsun_in_hole_photo_by_Colby_Claycomb.jpg 1892w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jsun during ‘The Weather Reconnaissance’ \u003ccite>(Photo: Colby Claycomb)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In October 2008, McCarty participated in \u003ci>The Weather Reconnaissance\u003c/i>, a show curated by artists Jenna North and Peter Foucault as part of \u003ca href=\"http://www.justinhoover.com/the-garage-biennale/\" target=\"_blank\" rel=\"noopener\">The Garage Biennial\u003c/a>, an experimental exhibition program hosted by fellow SFAI grad Justin Hoover in the garage of his family’s Pacific Heights home. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>McCarty’s piece centered around an enormous globe suspended over the mechanic’s pit in the garage. A network of electronic nodes attached to the globe connected to mixers, consoles, amplifiers and effects pedals strewn on the floor. \u003c/p>\n\u003cp>North says McCarty and his collaborator dressed like members of a secret underground militia. “The was a sense of this covert operation he was conducting,” North says. “I honestly believe that he believed he was communicating with higher forces in his attempts to control atmospheric forces through sound. He had a sign next to the hole that said, ‘Shhhh — I’m talking to God.’” \u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”150″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/189247033″&visual=true&”auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true”'\n title='”https://api.soundcloud.com/tracks/189247033″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>If McCarty expected silence from his audience, he filled that vacuum with more sound than any gathered crowd could ever possibly produce. “It was really wild and loud and abrasive and he didn’t give a shit,” Hoover says of the two-hour performance for \u003ci>The Weather Reconnaissance\u003c/i>. “He intentionally pushed buttons. People couldn’t handle it.”\u003c/p>\n\u003cfigure id=\"attachment_12479256\" class=\"wp-caption alignright\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/JasonMcCarty.jpg\" alt=\"Jason McCarty\" width=\"720\" height=\"960\" class=\"size-full wp-image-12479256\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/JasonMcCarty.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/JasonMcCarty-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/JasonMcCarty-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/JasonMcCarty-375x500.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/JasonMcCarty-520x693.jpg 520w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">Jason McCarty\u003c/figcaption>\u003c/figure>\n\u003cp>Oakland-based filmmaker Cyrus Tabar remembers meeting McCarty through the Artists’ Television Access community. He relished the sensory overload of McCarty’s performances. “I always knew when he was sitting with his gear that I had to prepare myself,” Tabar says. “Sometimes it was so intense you’d want to be going to the door. It was just like this intensity, this electricity he had. He wasn’t the kind of guy who would just press play on his laptop.”\u003c/p>\n\u003cp>Former classmates at SFAI remember McCarty sampling sounds in the studio hallway. They would often find him hitting a drumstick against any reverberant object. “He was the noisemaker,” his friend Will Barclift says. “He didn’t do it for anyone else. As an artist he was someone who pushed the boundaries.” \u003c/p>\n\u003cp>After SFAI, McCarty connected with the Oakland warehouse scene, living and performing in spaces like the Ghost Ship warehouse. He remained dedicated to his practice. “10pm is always such a tragic time for me,” he \u003ca href=\"https://twitter.com/dilatedears/status/779181733270859776\" target=\"_blank\" rel=\"noopener\">tweeted on Sept. 22\u003c/a>, “cuz that’s when my neighbor starts banging on the wall and I have to discontinue making music.” \u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”150″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/189245650″&visual=true&”auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true”'\n title='”https://api.soundcloud.com/tracks/189245650″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>As raw and wild as his music was, McCarty is remembered by friends as a tender and compassionate person. “A lot of artists get this voice and they use that voice to challenge other people to hear that voice,” Jenkins says. “But with Jsun, he was just inviting. It’s really hard to find people like that in the art world.”\u003c/p>\n\u003cp>“He was so secure in his own skin and it just made everybody else want to be that way,” says artist and friend Gera Lozano. “He believed in himself. And I think all of his friends believed in him too. We were just waiting for him to blow up, it was a matter of time.”\u003c/p>\n\u003cfigure id=\"attachment_12479255\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/Interior-on-LSD-tumblr-800x552.jpg\" alt='\"Interior on LSD\" by Jsun' width=\"800\" height=\"552\" class=\"size-medium wp-image-12479255\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Interior-on-LSD-tumblr-800x552.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Interior-on-LSD-tumblr-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Interior-on-LSD-tumblr-768x530.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Interior-on-LSD-tumblr-1020x704.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Interior-on-LSD-tumblr-1180x815.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Interior-on-LSD-tumblr-960x663.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Interior-on-LSD-tumblr-240x166.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Interior-on-LSD-tumblr-375x259.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Interior-on-LSD-tumblr-520x359.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Interior-on-LSD-tumblr.jpg 1231w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Interior on LSD” by Jsun\u003c/figcaption>\u003c/figure>\n\u003cp>Since Dec. 2, both Jenkins and Barclift have found themselves reminded of McCarty in unlikely sonic spaces. For Barclift, it’s in the discordant mess of car radio static. “That was something he could listen to and actually create meaning out of it and use in his art,” Barclift says. “It was just so perfect, it made me grin immediately.”\u003c/p>\n\u003cp>Likewise, in the wake of the Oakland warehouse fire, Jenkins attended a community vigil, and “the only place I could find to stand was next to these humming generators,” he says. “I couldn’t hear anything else. I thought, this is the space that he would be fine with and that he would want to occupy: an uncomfortable space.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Listen to more of McCarty’s music as Dilatedears at \u003ca href=\"https://soundcloud.com/slanguages\" target=\"_blank\" rel=\"noopener\">his Soundcloud page\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cem>See McCarty’s artwork and photography at \u003ca href=\"http://dilatedears.tumblr.com/\" target=\"_blank\" rel=\"noopener\">his Tumblr\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cem>More artwork and photography can be found at \u003ca href=\"https://www.instagram.com/dilatedears/\" target=\"_blank\" rel=\"noopener\">McCarty’s Instagram page\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cem>For more of our tributes to the victims of the Oakland warehouse fire, please visit our \u003ca href=\"https://ww2.kqed.org/arts/programs/oakland-warehouse-memorial/\" target=\"_blank\" rel=\"noopener\">remembrances page here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>For a printable poster of the illustration above, \u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/jasonmccartyedit.pdf\" target=\"_blank\" rel=\"noopener\">see here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Michela Angelina Gregory, 'Golden, Stellar' Student and Writer",
"headTitle": "Michela Angelina Gregory, ‘Golden, Stellar’ Student and Writer | KQED",
"content": "\u003cp>College student Michela Angelina Gregory, 20, is remembered by family, friends and colleagues as an exceptionally hard-working, responsible and caring individual who loved electronic dance music. \u003c/p>\n\u003cp>She loved animals so much she became a vegan, her father David Gregory told the \u003cem>East Bay Times\u003c/em>. “She wouldn’t hurt a fly,” he said. “She was the kind of person we need in this world.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/Michela-Angelina-Gregory-facebook-carlos-espinoza-800x533.jpg\" alt=\"michela-angelina-gregory-facebook-carlos-espinoza\" width=\"800\" height=\"533\" class=\"aligncenter size-medium wp-image-12467236\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Michela-Angelina-Gregory-facebook-carlos-espinoza-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Michela-Angelina-Gregory-facebook-carlos-espinoza-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Michela-Angelina-Gregory-facebook-carlos-espinoza-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Michela-Angelina-Gregory-facebook-carlos-espinoza-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Michela-Angelina-Gregory-facebook-carlos-espinoza-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Michela-Angelina-Gregory-facebook-carlos-espinoza-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Michela-Angelina-Gregory-facebook-carlos-espinoza-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Michela-Angelina-Gregory-facebook-carlos-espinoza-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Michela-Angelina-Gregory-facebook-carlos-espinoza-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Michela-Angelina-Gregory-facebook-carlos-espinoza.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Gregory grew up in San Bruno and graduated in 2014 from South San Francisco High School, where she excelled both in academics and sports. She pitched and played outfield for the San Bruno Storm girls softball team. Head coach Richard Sims remembers her as “a wonderful teammate” who helped the team win fourth place at the ASA Western Nationals. \u003c/p>\n\u003cp>Gregory was halfway through her junior year at San Francisco State University, where she was majoring in child development and hoping to work with special needs children. One of her professors, Rama Ali Kased, remembers their last conversation. “When we talked about working with kids, her eyes just lit up,” Kased says. “She was committed and excited about her calling in life.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Kased says Gregory was “an amazing writer and a critical thinker, a golden, stellar superstar who got straight A’s.” As an incoming freshman, she was chosen to be part of a special program to support low-income students who are the first in their families to attend college. “She had a strong commitment to social justice and community betterment, and a keen sense of how bigger societal issues impact kids,” Kased says.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/Michela-Angelina-Gregory-facebook-jamie-renee.jpg\" alt=\"michela-angelina-gregory-facebook-jamie-renee\" width=\"479\" height=\"479\" class=\"aligncenter size-full wp-image-12467239\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Michela-Angelina-Gregory-facebook-jamie-renee.jpg 479w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Michela-Angelina-Gregory-facebook-jamie-renee-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Michela-Angelina-Gregory-facebook-jamie-renee-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Michela-Angelina-Gregory-facebook-jamie-renee-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Michela-Angelina-Gregory-facebook-jamie-renee-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Michela-Angelina-Gregory-facebook-jamie-renee-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Michela-Angelina-Gregory-facebook-jamie-renee-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Michela-Angelina-Gregory-facebook-jamie-renee-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Michela-Angelina-Gregory-facebook-jamie-renee-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Michela-Angelina-Gregory-facebook-jamie-renee-150x150.jpg 150w\" sizes=\"(max-width: 479px) 100vw, 479px\">\u003c/p>\n\u003cp>Gregory’s mother, Kimberly Gregory, recalls with pride how much her daughter loved children, worked hard and made the honor roll three years in a row. “She carried her heart on her shoulder,” she says. \u003c/p>\n\u003cp>Dan Duggan, owner of the mortuary where Gregory and her boyfriend of five years Alex Vega — who also died in the Ghost Ship blaze — worked the night shift, remembers the pair as “really sincere and kind, compassionate individuals. They were both just really, really good kids.”\u003c/p>\n\u003cp>The Alameda County Sheriff said Gregory and Vega’s bodies were found in what looked like an embrace, with Vega sheltering Gregory in his arms. “To the end, they were together,” David Gregory told the \u003cem>East Bay Times\u003c/em>, “trying to help each other, I’m sure. I know it.” \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>For more of our tributes to the victims of the Oakland warehouse fire, please visit our \u003ca href=\"https://ww2.kqed.org/arts/programs/oakland-warehouse-memorial/\" target=\"_blank\" rel=\"noopener\">remembrances page here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>For a printable poster of the illustration above, \u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/michaelagregoryedit.pdf\" target=\"_blank\" rel=\"noopener\">see here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>College student Michela Angelina Gregory, 20, is remembered by family, friends and colleagues as an exceptionally hard-working, responsible and caring individual who loved electronic dance music. \u003c/p>\n\u003cp>She loved animals so much she became a vegan, her father David Gregory told the \u003cem>East Bay Times\u003c/em>. “She wouldn’t hurt a fly,” he said. “She was the kind of person we need in this world.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/Michela-Angelina-Gregory-facebook-carlos-espinoza-800x533.jpg\" alt=\"michela-angelina-gregory-facebook-carlos-espinoza\" width=\"800\" height=\"533\" class=\"aligncenter size-medium wp-image-12467236\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Michela-Angelina-Gregory-facebook-carlos-espinoza-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Michela-Angelina-Gregory-facebook-carlos-espinoza-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Michela-Angelina-Gregory-facebook-carlos-espinoza-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Michela-Angelina-Gregory-facebook-carlos-espinoza-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Michela-Angelina-Gregory-facebook-carlos-espinoza-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Michela-Angelina-Gregory-facebook-carlos-espinoza-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Michela-Angelina-Gregory-facebook-carlos-espinoza-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Michela-Angelina-Gregory-facebook-carlos-espinoza-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Michela-Angelina-Gregory-facebook-carlos-espinoza-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Michela-Angelina-Gregory-facebook-carlos-espinoza.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Gregory grew up in San Bruno and graduated in 2014 from South San Francisco High School, where she excelled both in academics and sports. She pitched and played outfield for the San Bruno Storm girls softball team. Head coach Richard Sims remembers her as “a wonderful teammate” who helped the team win fourth place at the ASA Western Nationals. \u003c/p>\n\u003cp>Gregory was halfway through her junior year at San Francisco State University, where she was majoring in child development and hoping to work with special needs children. One of her professors, Rama Ali Kased, remembers their last conversation. “When we talked about working with kids, her eyes just lit up,” Kased says. “She was committed and excited about her calling in life.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Kased says Gregory was “an amazing writer and a critical thinker, a golden, stellar superstar who got straight A’s.” As an incoming freshman, she was chosen to be part of a special program to support low-income students who are the first in their families to attend college. “She had a strong commitment to social justice and community betterment, and a keen sense of how bigger societal issues impact kids,” Kased says.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/Michela-Angelina-Gregory-facebook-jamie-renee.jpg\" alt=\"michela-angelina-gregory-facebook-jamie-renee\" width=\"479\" height=\"479\" class=\"aligncenter size-full wp-image-12467239\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Michela-Angelina-Gregory-facebook-jamie-renee.jpg 479w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Michela-Angelina-Gregory-facebook-jamie-renee-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Michela-Angelina-Gregory-facebook-jamie-renee-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Michela-Angelina-Gregory-facebook-jamie-renee-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Michela-Angelina-Gregory-facebook-jamie-renee-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Michela-Angelina-Gregory-facebook-jamie-renee-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Michela-Angelina-Gregory-facebook-jamie-renee-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Michela-Angelina-Gregory-facebook-jamie-renee-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Michela-Angelina-Gregory-facebook-jamie-renee-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Michela-Angelina-Gregory-facebook-jamie-renee-150x150.jpg 150w\" sizes=\"(max-width: 479px) 100vw, 479px\">\u003c/p>\n\u003cp>Gregory’s mother, Kimberly Gregory, recalls with pride how much her daughter loved children, worked hard and made the honor roll three years in a row. “She carried her heart on her shoulder,” she says. \u003c/p>\n\u003cp>Dan Duggan, owner of the mortuary where Gregory and her boyfriend of five years Alex Vega — who also died in the Ghost Ship blaze — worked the night shift, remembers the pair as “really sincere and kind, compassionate individuals. They were both just really, really good kids.”\u003c/p>\n\u003cp>The Alameda County Sheriff said Gregory and Vega’s bodies were found in what looked like an embrace, with Vega sheltering Gregory in his arms. “To the end, they were together,” David Gregory told the \u003cem>East Bay Times\u003c/em>, “trying to help each other, I’m sure. I know it.” \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>For more of our tributes to the victims of the Oakland warehouse fire, please visit our \u003ca href=\"https://ww2.kqed.org/arts/programs/oakland-warehouse-memorial/\" target=\"_blank\" rel=\"noopener\">remembrances page here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>For a printable poster of the illustration above, \u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/michaelagregoryedit.pdf\" target=\"_blank\" rel=\"noopener\">see here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Wolfgang Renner, Electronic Composer and Ageless Adventurer",
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"content": "\u003cp>Although Wolfgang Renner, 61, was the oldest victim of the Oakland warehouse fire by more than a couple of decades, it was his youthfulness, free spirit and consistent pursuit of a good time that his friends remember most about him.\u003c/p>\n\u003cp>“Wolfgang was about as free of an individual as anyone is likely to ever meet,” his friend Robert Janca writes on Facebook.\u003c/p>\n\u003cp>Known affectionately as “Wolfie,” Renner was an Oakland-based electronic musician and composer who grew up in Bavaria, Germany. Described by one friend as “a cool cat,” he became a fixture of the local electronic music scene, attending the Ghost Ship party with his partner Michele Sylvan, 37. The two were found alongside each other, according to friends.\u003c/p>\n\u003cp>“You were so awesome and crazy and so loved and such special humans,” Ross DuBois, a friend, writes of the longtime couple who had been residents of the nearby Vulcan Lofts in East Oakland since the early 2000s. \u003c/p>\n\u003cp>Several people described Renner as a constant source of energy and fun, and always game for the next adventure. He was also known for throwing a good party. “When we were close, it was a joy to go and visit him as he was a capable host who made all of his friends feel welcome and celebrated,” Janca writes. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Of Renner and Sylvan, he adds: “The world is a decidedly less colorful one without them. So long dear souls.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>For more of our tributes to the victims of the Oakland warehouse fire, please visit our \u003ca href=\"https://ww2.kqed.org/arts/programs/oakland-warehouse-memorial/\" target=\"_blank\" rel=\"noopener\">remembrances page here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>For a printable poster of the illustration above, \u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/wolfgangrenneredit.pdf\" target=\"_blank\" rel=\"noopener\">see here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Although Wolfgang Renner, 61, was the oldest victim of the Oakland warehouse fire by more than a couple of decades, it was his youthfulness, free spirit and consistent pursuit of a good time that his friends remember most about him.\u003c/p>\n\u003cp>“Wolfgang was about as free of an individual as anyone is likely to ever meet,” his friend Robert Janca writes on Facebook.\u003c/p>\n\u003cp>Known affectionately as “Wolfie,” Renner was an Oakland-based electronic musician and composer who grew up in Bavaria, Germany. Described by one friend as “a cool cat,” he became a fixture of the local electronic music scene, attending the Ghost Ship party with his partner Michele Sylvan, 37. The two were found alongside each other, according to friends.\u003c/p>\n\u003cp>“You were so awesome and crazy and so loved and such special humans,” Ross DuBois, a friend, writes of the longtime couple who had been residents of the nearby Vulcan Lofts in East Oakland since the early 2000s. \u003c/p>\n\u003cp>Several people described Renner as a constant source of energy and fun, and always game for the next adventure. He was also known for throwing a good party. “When we were close, it was a joy to go and visit him as he was a capable host who made all of his friends feel welcome and celebrated,” Janca writes. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Of Renner and Sylvan, he adds: “The world is a decidedly less colorful one without them. So long dear souls.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>For more of our tributes to the victims of the Oakland warehouse fire, please visit our \u003ca href=\"https://ww2.kqed.org/arts/programs/oakland-warehouse-memorial/\" target=\"_blank\" rel=\"noopener\">remembrances page here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>For a printable poster of the illustration above, \u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/wolfgangrenneredit.pdf\" target=\"_blank\" rel=\"noopener\">see here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Sara Hoda, Schoolteacher and Artist with 'Calm, Kind Demeanor'",
"headTitle": "Sara Hoda, Schoolteacher and Artist with ‘Calm, Kind Demeanor’ | KQED",
"content": "\u003cp>When others had nowhere to go, artist Sara Hoda, 30, helped take them in.\u003c/p>\n\u003cp>“She literally provided the space for me to start my life here,” says Susan Dee, a friend of the Oakland-based artist. \u003c/p>\n\u003cp>When Dee moved to the Bay Area in 2013, she couldn’t afford the region’s skyrocketing rent, and Hoda gave her somewhere to stay. “The only place I could afford to live was this place in West Oakland,” Dee says. \u003c/p>\n\u003cfigure id=\"attachment_12467428\" class=\"wp-caption alignright\" style=\"max-width: 680px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/Sara_Hoda_photo.jpeg\" alt=\"Hoda on Right\" width=\"680\" height=\"538\" class=\"size-full wp-image-12467428\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Sara_Hoda_photo.jpeg 680w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Sara_Hoda_photo-160x127.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Sara_Hoda_photo-240x190.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Sara_Hoda_photo-375x297.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Sara_Hoda_photo-520x411.jpeg 520w\" sizes=\"(max-width: 680px) 100vw, 680px\">\u003cfigcaption class=\"wp-caption-text\">Sara Hoda (right) with Lazzuly Mello.\u003c/figcaption>\u003c/figure>\n\u003cp>Hoda lived in a three-bedroom apartment near the West Oakland BART stop and helped Dee get on her feet. Dee recalls Hoda’s generous spirit. “Sara and her friends were so open and accepting,” Dee says. “Often, she would offer me coffee in the morning, make hand crafted gifts for friends’ birthdays, and fix the most delicious Persian food to share.”\u003c/p>\n\u003cp>Dee also recalls coming home to find Hoda painting on an easel in her room. “She explained that one painting was about the Occupy Wall Street protests at the Oakland port,” Dee says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Hoda had a broad range of interests. She and friend Lazzuly Mello started a coffee company out of a truck. They named their business \u003ca href=\"http://kck.st/2gm6nin\" target=\"_blank\" rel=\"noopener\">Art Is In Coffee\u003c/a>, and covered the sides of the truck with paintings. Backed by Kickstarter donations, the goal of the truck was to bring people together over a cup of coffee to “facilitate the sharing of different cultures, ideas, and perspectives.” They often changed out the paintings on the truck, creating a transitory mobile art gallery. \u003c/p>\n\u003cp>Hoda also ran an artists’ collective with her friend Carol Crewdson. Known as Musick Box, the pair operated their community out of a home in West Oakland, which supported up to 32 people at a time. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/SaraHoda3-800x449.jpg\" alt=\"sarahoda3\" width=\"800\" height=\"449\" class=\"aligncenter size-medium wp-image-12467427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SaraHoda3-800x449.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SaraHoda3-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SaraHoda3-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SaraHoda3.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SaraHoda3-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SaraHoda3-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SaraHoda3-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Crewdson remembered Hoda as “compassionate and sweet” on Facebook after Hoda was reported deceased in the Oakland warehouse fire. “We built a garden and community together and grew vegetables in the front of our ramshackle house in the middle of Oakland, and created abundance with a beautiful group of people that stretch all over the world. That’s how I will remember her, and that’s who she was to me.”\u003c/p>\n\u003cp>Hoda’s busy life also included working with kids. In 2016, Hoda got a job working as a support teacher at the Urban Montessori Charter School in East Oakland. Her students, age six to nine, fondly referred to her as “Ms. S.”\u003c/p>\n\u003cfigure id=\"attachment_12467426\" class=\"wp-caption alignright\" style=\"max-width: 540px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/SaraHoda1.jpg\" alt=\"Sara Hoda\" width=\"540\" height=\"548\" class=\"size-full wp-image-12467426\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SaraHoda1.jpg 540w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SaraHoda1-160x162.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SaraHoda1-240x244.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SaraHoda1-375x381.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SaraHoda1-520x528.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SaraHoda1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SaraHoda1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SaraHoda1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SaraHoda1-96x96.jpg 96w\" sizes=\"(max-width: 540px) 100vw, 540px\">\u003cfigcaption class=\"wp-caption-text\">Sara Hoda.\u003c/figcaption>\u003c/figure>\n\u003cp>“We’d found a perfect fit in Sara,” says David Castillo, the school’s head teacher.\u003c/p>\n\u003cp>Castillo recalls the excitement he felt when he first met Hoda. “She had a calm, kind demeanor that people were naturally drawn to,” Castillo says. And he admired her green thumb. “Sara had a passion for gardening, and we may end up putting together a community garden in her name.”\u003c/p>\n\u003cp>Hoda’s mother and brother attended a healing circle along with students’ parents at the school on the Monday after the fire. In a statement that went out to parents via email, Castillo says Hoda was “loved and full of love, and she will be missed by so many people.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>For more of our tributes to the victims of the Oakland warehouse fire, please visit our \u003ca href=\"https://ww2.kqed.org/arts/programs/oakland-warehouse-memorial/\" target=\"_blank\" rel=\"noopener\">remembrances page here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>For a printable poster of the illustration above, \u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/sarahodaedit.pdf\" target=\"_blank\" rel=\"noopener\">see here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Whether with her students in East Oakland or with friends, the compassionate 30 year-old lived to share art, culture and ideas.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When others had nowhere to go, artist Sara Hoda, 30, helped take them in.\u003c/p>\n\u003cp>“She literally provided the space for me to start my life here,” says Susan Dee, a friend of the Oakland-based artist. \u003c/p>\n\u003cp>When Dee moved to the Bay Area in 2013, she couldn’t afford the region’s skyrocketing rent, and Hoda gave her somewhere to stay. “The only place I could afford to live was this place in West Oakland,” Dee says. \u003c/p>\n\u003cfigure id=\"attachment_12467428\" class=\"wp-caption alignright\" style=\"max-width: 680px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/Sara_Hoda_photo.jpeg\" alt=\"Hoda on Right\" width=\"680\" height=\"538\" class=\"size-full wp-image-12467428\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Sara_Hoda_photo.jpeg 680w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Sara_Hoda_photo-160x127.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Sara_Hoda_photo-240x190.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Sara_Hoda_photo-375x297.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Sara_Hoda_photo-520x411.jpeg 520w\" sizes=\"(max-width: 680px) 100vw, 680px\">\u003cfigcaption class=\"wp-caption-text\">Sara Hoda (right) with Lazzuly Mello.\u003c/figcaption>\u003c/figure>\n\u003cp>Hoda lived in a three-bedroom apartment near the West Oakland BART stop and helped Dee get on her feet. Dee recalls Hoda’s generous spirit. “Sara and her friends were so open and accepting,” Dee says. “Often, she would offer me coffee in the morning, make hand crafted gifts for friends’ birthdays, and fix the most delicious Persian food to share.”\u003c/p>\n\u003cp>Dee also recalls coming home to find Hoda painting on an easel in her room. “She explained that one painting was about the Occupy Wall Street protests at the Oakland port,” Dee says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Hoda had a broad range of interests. She and friend Lazzuly Mello started a coffee company out of a truck. They named their business \u003ca href=\"http://kck.st/2gm6nin\" target=\"_blank\" rel=\"noopener\">Art Is In Coffee\u003c/a>, and covered the sides of the truck with paintings. Backed by Kickstarter donations, the goal of the truck was to bring people together over a cup of coffee to “facilitate the sharing of different cultures, ideas, and perspectives.” They often changed out the paintings on the truck, creating a transitory mobile art gallery. \u003c/p>\n\u003cp>Hoda also ran an artists’ collective with her friend Carol Crewdson. Known as Musick Box, the pair operated their community out of a home in West Oakland, which supported up to 32 people at a time. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/SaraHoda3-800x449.jpg\" alt=\"sarahoda3\" width=\"800\" height=\"449\" class=\"aligncenter size-medium wp-image-12467427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SaraHoda3-800x449.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SaraHoda3-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SaraHoda3-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SaraHoda3.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SaraHoda3-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SaraHoda3-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SaraHoda3-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Crewdson remembered Hoda as “compassionate and sweet” on Facebook after Hoda was reported deceased in the Oakland warehouse fire. “We built a garden and community together and grew vegetables in the front of our ramshackle house in the middle of Oakland, and created abundance with a beautiful group of people that stretch all over the world. That’s how I will remember her, and that’s who she was to me.”\u003c/p>\n\u003cp>Hoda’s busy life also included working with kids. In 2016, Hoda got a job working as a support teacher at the Urban Montessori Charter School in East Oakland. Her students, age six to nine, fondly referred to her as “Ms. S.”\u003c/p>\n\u003cfigure id=\"attachment_12467426\" class=\"wp-caption alignright\" style=\"max-width: 540px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/SaraHoda1.jpg\" alt=\"Sara Hoda\" width=\"540\" height=\"548\" class=\"size-full wp-image-12467426\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SaraHoda1.jpg 540w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SaraHoda1-160x162.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SaraHoda1-240x244.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SaraHoda1-375x381.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SaraHoda1-520x528.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SaraHoda1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SaraHoda1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SaraHoda1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SaraHoda1-96x96.jpg 96w\" sizes=\"(max-width: 540px) 100vw, 540px\">\u003cfigcaption class=\"wp-caption-text\">Sara Hoda.\u003c/figcaption>\u003c/figure>\n\u003cp>“We’d found a perfect fit in Sara,” says David Castillo, the school’s head teacher.\u003c/p>\n\u003cp>Castillo recalls the excitement he felt when he first met Hoda. “She had a calm, kind demeanor that people were naturally drawn to,” Castillo says. And he admired her green thumb. “Sara had a passion for gardening, and we may end up putting together a community garden in her name.”\u003c/p>\n\u003cp>Hoda’s mother and brother attended a healing circle along with students’ parents at the school on the Monday after the fire. In a statement that went out to parents via email, Castillo says Hoda was “loved and full of love, and she will be missed by so many people.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>For more of our tributes to the victims of the Oakland warehouse fire, please visit our \u003ca href=\"https://ww2.kqed.org/arts/programs/oakland-warehouse-memorial/\" target=\"_blank\" rel=\"noopener\">remembrances page here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>For a printable poster of the illustration above, \u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/sarahodaedit.pdf\" target=\"_blank\" rel=\"noopener\">see here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Cash Askew, Transcendent Musician and 'Tender, Luminous Spirit'",
"headTitle": "Cash Askew, Transcendent Musician and ‘Tender, Luminous Spirit’ | KQED",
"content": "\u003cp>Cash Askew, 22, was a captivating person with visionary musical talent. One half of dream-pop duo Them Are Us Too, she was a beloved figure in the Bay Area music community, especially within queer and trans circles.\u003c/p>\n\u003cp>Askew’s stepfather, Sunny Haire (former manager of the Lexington Club, a now-shuttered lesbian bar in San Francisco’s Mission) taught Askew to play guitar at the age of seven. “As a child, Cash would spend time with her stepfather in the Lexington Club, sipping cranberry juice and watching the clientele,” \u003cem>The Washington Post\u003c/em> notes in a story about Askew.\u003c/p>\n\u003cfigure id=\"attachment_12474038\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12474038\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/CashAskew.Screenshot-800x450.jpg\" alt='Cash Askew in the music video for Chasms’ “Beyond Flesh.\"' width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CashAskew.Screenshot-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CashAskew.Screenshot-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CashAskew.Screenshot-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CashAskew.Screenshot-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CashAskew.Screenshot.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CashAskew.Screenshot-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CashAskew.Screenshot-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CashAskew.Screenshot-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CashAskew.Screenshot-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CashAskew.Screenshot-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cash Askew in the music video for Chasms’ “Beyond Flesh.” \u003ccite>(YouTube)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In a statement to \u003cem>Rolling Stone\u003c/em>, Askew’s stepfather Sunny Haire and mother Leisa Baird Askew said: “She was very special, an enigma, and I can say without hesitation she truly affected and made an impression upon everyone she met…” With her passing, the world lost a tender, luminous spirit who was just beginning to imprint an indelible mark on the world through her art and through her humanity.”\u003c/p>\n\u003cp>In an interview with writer Beth Winegarner, published on Medium in the wake of the Oakland warehouse fire, Askew, who identified as transgender and used the feminine pronoun, spoke about how her early explorations of gender and music intertwined. “As a young teenager, I was definitely attracted to goth and new wave in part because of the androgyny,” Askew says, “And that aesthetic gave me a way to explore my gender expression before I could even come to terms with being transgender.”\u003c/p>\n\u003cp>https://youtu.be/hA2onxrh_9g\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Askew began playing with vocalist Kennedy Ashlyn as Them Are Us Too in 2013, and the duo released its first full-length album, \u003cem>Remain\u003c/em>, through Dais Records last year. The songs on the somber yet glistening album combine soaring, siren-like vocals with atmospheric synth, shoegaze guitar and snare. Askew also maintained two solo musical projects, Heavenly and Prist.\u003c/p>\n\u003cp>In a remembrance of Askew posted to its website, Dais Records posts: “We were in awe of her talent, her gentle kindness, and her creative momentum. She was loved and admired by everyone she met, and her passing is an excruciating loss that we may never fully process or recover from.”\u003c/p>\n\u003cfigure id=\"attachment_12474044\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12474044\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/CashAskew.ThemAreUsToo.KristenCofer-800x800.jpg\" alt=\"Cash Askew (right) and Kennedy Wenning of Them Are Us Too.\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CashAskew.ThemAreUsToo.KristenCofer-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CashAskew.ThemAreUsToo.KristenCofer-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CashAskew.ThemAreUsToo.KristenCofer-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CashAskew.ThemAreUsToo.KristenCofer.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CashAskew.ThemAreUsToo.KristenCofer-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CashAskew.ThemAreUsToo.KristenCofer-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CashAskew.ThemAreUsToo.KristenCofer-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CashAskew.ThemAreUsToo.KristenCofer-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CashAskew.ThemAreUsToo.KristenCofer-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CashAskew.ThemAreUsToo.KristenCofer-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CashAskew.ThemAreUsToo.KristenCofer-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CashAskew.ThemAreUsToo.KristenCofer-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CashAskew.ThemAreUsToo.KristenCofer-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cash Askew (right) and Kennedy Wenning of Them Are Us Too. \u003ccite>(Kristen Cofer)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the days since the Ghost Ship fire, there has been an outpouring of grief from those in the music scene who played with Askew, or simply appreciated her music.\u003c/p>\n\u003cp>On Instagram, Wax Idols singer Hether Fortune referred to Askew’s work and existence as “transcendent.” “Getting to become close with you on tour [and] watch you perform every night for a month was a privilege and a revelation,” she writes. “You were as iconic as you were pure.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12471533\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/CashAskew1.jpg\" alt=\"cashaskew1\" width=\"740\" height=\"740\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CashAskew1.jpg 740w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CashAskew1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CashAskew1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CashAskew1-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CashAskew1-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CashAskew1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CashAskew1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CashAskew1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CashAskew1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CashAskew1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CashAskew1-150x150.jpg 150w\" sizes=\"(max-width: 740px) 100vw, 740px\">\u003c/p>\n\u003cp>In a statement on its Facebook page, Oakland noise-rock trio S.B.S.M. remembers playing a show in Santa Cruz with Ashlyn and Askew. Still relatively new, and feeling insecure, the band was emboldened by the duo’s support.\u003c/p>\n\u003cp>“Cash was there in a crowd of mostly unamused punks literally just moshing with herself, in her own space, in her own zone,” the members of S.B.S.M. write. “Of all the people who we’ve met through doing this band, we actually trusted the way Cash appreciated us, she understood us, she ‘got it.’ In a freak for freak, queer for queer, heart to heart way. We feel the same about all of her creativity as well.”\u003c/p>\n\u003cp>The band goes on to recall being brought to tears simply at the sight of Askew dance during a Wax Idols show. S.B.S.M. was even inspired to write a song about her dance moves: “Maybe she has always been ethereal; like a prism channeling light.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-medium wp-image-12127869\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Hear “Us Now” and read a review of Them Are Us Too on Pitchfork \u003ca href=\"http://pitchfork.com/reviews/tracks/17309-them-are-us-too-us-now/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cem>Read an interview with Them Are Us Too on Vice \u003ca href=\"https://noisey.vice.com/en_us/article/them-are-us-too\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cem>See Askew starring recently in the music video for Chasms’ “Beyond Flesh” \u003ca href=\"https://www.youtube.com/watch?v=fGcejTqyN9I\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cem>Watch Askew in a DJ set with Aja Archulata \u003ca href=\"https://www.facebook.com/aaron.aaron.9277583/videos/1757123561202281/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cem>For more of our tributes to the victims of the Oakland warehouse fire, please visit our \u003ca href=\"https://ww2.kqed.org/arts/programs/oakland-warehouse-memorial/\" target=\"_blank\" rel=\"noopener\">remembrances page here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>For a printable poster of the illustration above, \u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/cashaskewedit.pdf\" target=\"_blank\" rel=\"noopener\">see here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "In both her solo material and the ethereal duo Them Are Us Too, Cash Askew and her talents were \"just beginning to imprint an indelible mark on the world.\"",
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"description": "In both her solo material and the ethereal duo Them Are Us Too, Cash Askew and her talents were "just beginning to imprint an indelible mark on the world."",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Cash Askew, 22, was a captivating person with visionary musical talent. One half of dream-pop duo Them Are Us Too, she was a beloved figure in the Bay Area music community, especially within queer and trans circles.\u003c/p>\n\u003cp>Askew’s stepfather, Sunny Haire (former manager of the Lexington Club, a now-shuttered lesbian bar in San Francisco’s Mission) taught Askew to play guitar at the age of seven. “As a child, Cash would spend time with her stepfather in the Lexington Club, sipping cranberry juice and watching the clientele,” \u003cem>The Washington Post\u003c/em> notes in a story about Askew.\u003c/p>\n\u003cfigure id=\"attachment_12474038\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12474038\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/CashAskew.Screenshot-800x450.jpg\" alt='Cash Askew in the music video for Chasms’ “Beyond Flesh.\"' width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CashAskew.Screenshot-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CashAskew.Screenshot-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CashAskew.Screenshot-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CashAskew.Screenshot-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CashAskew.Screenshot.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CashAskew.Screenshot-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CashAskew.Screenshot-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CashAskew.Screenshot-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CashAskew.Screenshot-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CashAskew.Screenshot-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cash Askew in the music video for Chasms’ “Beyond Flesh.” \u003ccite>(YouTube)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In a statement to \u003cem>Rolling Stone\u003c/em>, Askew’s stepfather Sunny Haire and mother Leisa Baird Askew said: “She was very special, an enigma, and I can say without hesitation she truly affected and made an impression upon everyone she met…” With her passing, the world lost a tender, luminous spirit who was just beginning to imprint an indelible mark on the world through her art and through her humanity.”\u003c/p>\n\u003cp>In an interview with writer Beth Winegarner, published on Medium in the wake of the Oakland warehouse fire, Askew, who identified as transgender and used the feminine pronoun, spoke about how her early explorations of gender and music intertwined. “As a young teenager, I was definitely attracted to goth and new wave in part because of the androgyny,” Askew says, “And that aesthetic gave me a way to explore my gender expression before I could even come to terms with being transgender.”\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/hA2onxrh_9g'\n title='//www.youtube.com/embed/hA2onxrh_9g'\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>Askew began playing with vocalist Kennedy Ashlyn as Them Are Us Too in 2013, and the duo released its first full-length album, \u003cem>Remain\u003c/em>, through Dais Records last year. The songs on the somber yet glistening album combine soaring, siren-like vocals with atmospheric synth, shoegaze guitar and snare. Askew also maintained two solo musical projects, Heavenly and Prist.\u003c/p>\n\u003cp>In a remembrance of Askew posted to its website, Dais Records posts: “We were in awe of her talent, her gentle kindness, and her creative momentum. She was loved and admired by everyone she met, and her passing is an excruciating loss that we may never fully process or recover from.”\u003c/p>\n\u003cfigure id=\"attachment_12474044\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12474044\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/CashAskew.ThemAreUsToo.KristenCofer-800x800.jpg\" alt=\"Cash Askew (right) and Kennedy Wenning of Them Are Us Too.\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CashAskew.ThemAreUsToo.KristenCofer-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CashAskew.ThemAreUsToo.KristenCofer-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CashAskew.ThemAreUsToo.KristenCofer-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CashAskew.ThemAreUsToo.KristenCofer.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CashAskew.ThemAreUsToo.KristenCofer-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CashAskew.ThemAreUsToo.KristenCofer-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CashAskew.ThemAreUsToo.KristenCofer-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CashAskew.ThemAreUsToo.KristenCofer-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CashAskew.ThemAreUsToo.KristenCofer-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CashAskew.ThemAreUsToo.KristenCofer-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CashAskew.ThemAreUsToo.KristenCofer-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CashAskew.ThemAreUsToo.KristenCofer-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CashAskew.ThemAreUsToo.KristenCofer-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cash Askew (right) and Kennedy Wenning of Them Are Us Too. \u003ccite>(Kristen Cofer)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the days since the Ghost Ship fire, there has been an outpouring of grief from those in the music scene who played with Askew, or simply appreciated her music.\u003c/p>\n\u003cp>On Instagram, Wax Idols singer Hether Fortune referred to Askew’s work and existence as “transcendent.” “Getting to become close with you on tour [and] watch you perform every night for a month was a privilege and a revelation,” she writes. “You were as iconic as you were pure.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12471533\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/CashAskew1.jpg\" alt=\"cashaskew1\" width=\"740\" height=\"740\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CashAskew1.jpg 740w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CashAskew1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CashAskew1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CashAskew1-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CashAskew1-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CashAskew1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CashAskew1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CashAskew1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CashAskew1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CashAskew1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CashAskew1-150x150.jpg 150w\" sizes=\"(max-width: 740px) 100vw, 740px\">\u003c/p>\n\u003cp>In a statement on its Facebook page, Oakland noise-rock trio S.B.S.M. remembers playing a show in Santa Cruz with Ashlyn and Askew. Still relatively new, and feeling insecure, the band was emboldened by the duo’s support.\u003c/p>\n\u003cp>“Cash was there in a crowd of mostly unamused punks literally just moshing with herself, in her own space, in her own zone,” the members of S.B.S.M. write. “Of all the people who we’ve met through doing this band, we actually trusted the way Cash appreciated us, she understood us, she ‘got it.’ In a freak for freak, queer for queer, heart to heart way. We feel the same about all of her creativity as well.”\u003c/p>\n\u003cp>The band goes on to recall being brought to tears simply at the sight of Askew dance during a Wax Idols show. S.B.S.M. was even inspired to write a song about her dance moves: “Maybe she has always been ethereal; like a prism channeling light.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-medium wp-image-12127869\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Hear “Us Now” and read a review of Them Are Us Too on Pitchfork \u003ca href=\"http://pitchfork.com/reviews/tracks/17309-them-are-us-too-us-now/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cem>Read an interview with Them Are Us Too on Vice \u003ca href=\"https://noisey.vice.com/en_us/article/them-are-us-too\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cem>See Askew starring recently in the music video for Chasms’ “Beyond Flesh” \u003ca href=\"https://www.youtube.com/watch?v=fGcejTqyN9I\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cem>Watch Askew in a DJ set with Aja Archulata \u003ca href=\"https://www.facebook.com/aaron.aaron.9277583/videos/1757123561202281/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cem>For more of our tributes to the victims of the Oakland warehouse fire, please visit our \u003ca href=\"https://ww2.kqed.org/arts/programs/oakland-warehouse-memorial/\" target=\"_blank\" rel=\"noopener\">remembrances page here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>For a printable poster of the illustration above, \u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/cashaskewedit.pdf\" target=\"_blank\" rel=\"noopener\">see here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Johnny Igaz, a Pillar of Community, Electronic Musician, and Inspiration",
"headTitle": "Johnny Igaz, a Pillar of Community, Electronic Musician, and Inspiration | KQED",
"content": "\u003cp>It’s hard to know where to begin with Johnny Igaz. Do I open by mentioning his lifeblood — his music — and his outsized talent that the world was only just beginning to recognize? Or his deep, abiding sense of humor, which never left him without a smile on his face and left him cracking jokes about his own struggles?\u003c/p>\n\u003cfigure id=\"attachment_12469096\" class=\"wp-caption alignright\" style=\"max-width: 637px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/JOhnny.PW_.2015.jpg\" alt=\"Johnny Igaz at Public Works in 2015.\" width=\"637\" height=\"960\" class=\"size-full wp-image-12469096\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/JOhnny.PW_.2015.jpg 637w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/JOhnny.PW_.2015-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/JOhnny.PW_.2015-240x362.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/JOhnny.PW_.2015-375x565.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/JOhnny.PW_.2015-520x784.jpg 520w\" sizes=\"(max-width: 637px) 100vw, 637px\">\u003cfigcaption class=\"wp-caption-text\">Johnny Igaz at Public Works in 2015. \u003ccite>(Shanna Doherty)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Do I start with his passion for others, which saw him supporting his friends, even new friends he barely knew, in their artistic and creative endeavors, without fail? Or his commitment to causes he believed in — veganism, feminism, racial justice, non-violence, fair pay for artists, musicians, and creators, to list but a few? Or, more simply, his philosophy of kindness and positivity, which saw him continually pushing himself on an elemental level to do the hard work necessary to be thankful for all the gifts life gave him, to pay no heed to the hardships he could not control, and to take nothing for granted?\u003c/p>\n\u003cp>In truth, none of the above does Johnny justice. Perhaps more than any other person I’ve known in life, Johnny was a man of infinite multitudes. From the very first time I met him, he greeted me with a warm hug and engaged in genuine conversation with me, paying me rapt attention and listening earnestly to what I had to say. Then and there, I was smitten. He was one of a kind.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Music was the foundation of my relationship with Johnny. Music seemed to be the foundation of Johnny’s life, as a matter of fact. We bonded early over artists like U.K. techno producer Boddika, whose squirrelly, stripped-down hardware jams, like “\u003ca href=\"https://www.youtube.com/watch?v=bHS-kvBrEx0\" target=\"_blank\" rel=\"noopener\">Acid Battery\u003c/a>,” proved hugely influential on Johnny’s own work as Nackt. We quickly moved beyond electronic music and realized we shared a love of much other outsider music: the \u003ca href=\"https://www.youtube.com/watch?v=vFc8CDESpH8\" target=\"_blank\" rel=\"noopener\">sludgy stoner metal\u003c/a> of Electric Wizard; the undulating psychedelia of Earthless; the \u003ca href=\"https://www.youtube.com/watch?v=gzvWSKQyBO8\" target=\"_blank\" rel=\"noopener\">jazzy, dusty downtempo grooves\u003c/a> of Amon Tobin; and so much more. Johnny turned me onto so many good tunes: Electronic System’s \u003ca href=\"https://www.youtube.com/watch?v=cIwDLN2X6Rs\" target=\"_blank\" rel=\"noopener\">far-out library music\u003c/a>, or Ebenezer Obey’s \u003ca href=\"https://www.youtube.com/watch?v=mAt9OG61XP8\" target=\"_blank\" rel=\"noopener\">long-form Nigerian Afrobeat\u003c/a>, to pick just two. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But music isn’t the reason I’ll remember Johnny forever.\u003c/p>\n\u003cfigure id=\"attachment_12469097\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/JohnnyIgaz.Trust_-800x583.jpg\" alt=\"Johnny Igaz, always empowering others to be their best selves.\" width=\"800\" height=\"583\" class=\"size-medium wp-image-12469097\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/JohnnyIgaz.Trust_-800x583.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/JohnnyIgaz.Trust_-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/JohnnyIgaz.Trust_-768x559.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/JohnnyIgaz.Trust_-240x175.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/JohnnyIgaz.Trust_-375x273.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/JohnnyIgaz.Trust_-520x379.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/JohnnyIgaz.Trust_.jpg 938w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Johnny Igaz, always empowering others to be their best selves.\u003c/figcaption>\u003c/figure>\n\u003cp>Johnny was one of the few people I’ve encountered in life who taught me how to be a better person. We debated often: issues, causes, problems, seeking possible solutions or best practices. Time after time, Johnny helped me do the right thing. Johnny was always re-evaluating his own positions, stances, and actions, asking himself (and me in turn) how he could do better, be more just, and do less harm. He stumbled often — he was human, after all. But it was the asking that counted. \u003c/p>\n\u003cp>https://www.youtube.com/watch?v=edwTNHK4iUY\u003c/p>\n\u003cp>More than that, Johnny showed me how to be a man. I’m a music geek who writes for a living who loves clothes and video games; I’m not exactly a “man’s man,” and I’ve long struggled with traditional notions of masculinity and what kind of man, exactly, I am supposed to be. Johnny is perhaps the first close male friend I’ve had who was unabashed about his sensitivity; who told his friends he loved them repeatedly; who not only didn’t disregard touch and physical contact, but actively sought it out. Johnny helped me feel safe in my own skin, cementing within me that who I am is the person I ought to be. \u003c/p>\n\u003cfigure id=\"attachment_12469285\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/Johnny.Miles_-800x533.jpg\" alt=\"Johnny Igaz.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-12469285\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Johnny.Miles_-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Johnny.Miles_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Johnny.Miles_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Johnny.Miles_.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Johnny.Miles_-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Johnny.Miles_-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Johnny.Miles_-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Johnny Igaz. \u003ccite>(Amanda Allen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For years, Johnny and I had the same conversation, time and time again: “Is it time to leave?” The Bay Area is home for both of us, and both of us love it with every fiber of our beings. But remaining here is a struggle, especially once we both decided to commit full-time to our creative passions: music his, writing mine. \u003c/p>\n\u003cp>Time and time again, one of us would feel low, ready to throw in the towel: \u003cem>That’s it — I’m just gonna move to L.A., Seattle, Toronto, New York, anywhere\u003c/em>. Time and time again, one of us would counsel the other: “Hang in there; it’s hard right now, I know; so many friends have (moved, been evicted, given up hope); give it a few weeks — the tide will turn.” Invariably, we’d convince the other to stick around, and both our moods would lift.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/209469667″ params=”auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true” width=”100%” height=”150″ iframe=”true” /]\u003c/p>\n\u003cp>Just weeks ago, we had this conversation again — except this time, we both agreed that something had changed. Both San Francisco and Oakland felt more vibrant than ever; mood on the street felt positive; people were coming together, beginning new projects, and creativity seemed on the upswing, despite the dark storm clouding our nation. We agreed to work on new projects together, excited by the prospects that lay ahead.\u003c/p>\n\u003cp>After last weekend, my resolve is stronger than ever — I’m not giving up. For Johnny.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>None of these sentiments are mine alone. The outpouring of love, fondness, and support from Johnny’s family and friends — and perhaps most remarkably, from those who barely knew him at all — has been nothing short of an avalanche. Dear readers, forgive me: what anecdotes I share here cannot possibly stand in for the innumerable tributes from those he touched, but I will try, anyway.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/Johnny.Poms_-800x533.jpg\" alt=\"johnny-poms\" width=\"800\" height=\"533\" class=\"aligncenter size-medium wp-image-12469283\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Johnny.Poms_-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Johnny.Poms_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Johnny.Poms_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Johnny.Poms_-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Johnny.Poms_-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Johnny.Poms_-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Johnny.Poms_-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Johnny.Poms_-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Johnny.Poms_-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Johnny.Poms_.jpg 1440w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Brother Paul Igaz states with certainty that no single person affected or influenced his life as much as Johnny did. Paul recounts how, steadily and gradually, Johnny instilled in him a love of music; that over time, Paul followed Johnny’s “growth as a person and as a lover of music, which were in many ways the same thing.” Paul recounts that he, Johnny, and sister Teresa (who died in 2015) all had different but firmly held concepts of what is “right and just,” and that this led each in different directions. For Teresa, this meant a career in public health, specifically mental health for youth; for Paul, a career in teaching and education. Johnny infused this spirit into his career as a musician and artist. What stands out about Johnny’s beliefs and ethics, Paul says, is “how public he’s always been about [them,]” in contrast to the reservedness of himself and Teresa, and how inspiring that is to him as a person. \u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3128304709/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=3304925442/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>For long-time friend and event-hosting partner Jeremy Bispo, it is “hard to disconnect [Johnny’s] love for music with his love for people and community.” Johnny worked tirelessly to improve his craft, Bispo says, “but would still prefer to give others a chance to shine over himself.” Bispo remembers fondly how seriously Johnny took the task of curating lineups for their parties and events: “He brought a broader perspective on diversity, and elevated the importance of representing community without sacrificing quality to the utmost.” \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/JohnnyIgaz.Cut_-800x800.jpg\" alt=\"johnnyigaz-cut\" width=\"600\" height=\"600\" class=\"aligncenter size-medium wp-image-12469284\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/JohnnyIgaz.Cut_-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/JohnnyIgaz.Cut_-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/JohnnyIgaz.Cut_-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/JohnnyIgaz.Cut_.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/JohnnyIgaz.Cut_-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/JohnnyIgaz.Cut_-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/JohnnyIgaz.Cut_-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/JohnnyIgaz.Cut_-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/JohnnyIgaz.Cut_-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/JohnnyIgaz.Cut_-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/JohnnyIgaz.Cut_-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/JohnnyIgaz.Cut_-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/JohnnyIgaz.Cut_-150x150.jpg 150w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\u003cp>Former partner, forever family Hunter Leight says the most important thing he taught her was “to build up community, to support and nurture our chosen families, and to remember that we’re all in this together.” For fellow DJ and music lover Sam Bloom, Johnny “really set the standard for what it meant to be someone’s friend,” he says. He recounts the last time they really spent time together, in October, soon after Johnny had been hired as the music buyer for San Francisco’s Green Apple Books. Bloom says Johnny spoke about how “music scenes need all types of people and spaces … it takes an entire community to make a scene, and everyone’s role is key.” In Johnny’s mind, Bloom recounts, “he was just doing his part, and he made me feel empowered to do mine.” \u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/294113276″ params=”auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true” width=”100%” height=”150″ iframe=”true” /]\u003c/p>\n\u003cp>Friend and musical collaborator Cassidy Martin says Johnny was his “primary music mentor,” and his lessons of “detail, restraint, and discipline” left Martin a much improved artist. He remembers that Johnny would describe the music community writ large as a “Venn diagram,” and made the effort to “shade in those areas, connect the dots between people.” That’s why parties were so important to him: “He wanted different parts of the community to meet, connect, and strengthen — organically,” he says. \u003c/p>\n\u003cfigure id=\"attachment_12469286\" class=\"wp-caption alignright\" style=\"max-width: 384px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/JOhnny.Beach_.jpg\" alt=\"Johnny Igaz.\" width=\"384\" height=\"512\" class=\"size-full wp-image-12469286\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/JOhnny.Beach_.jpg 384w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/JOhnny.Beach_-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/JOhnny.Beach_-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/JOhnny.Beach_-375x500.jpg 375w\" sizes=\"(max-width: 384px) 100vw, 384px\">\u003cfigcaption class=\"wp-caption-text\">Johnny Igaz. \u003ccite>(via Facebook)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Renee Nichols, Johnny’s first love (who knew him simply as John), says that “Ironically, one of the people who’s helping me through this loss the most is him [Johnny].” “Whenever I have a despairing thought,” she says, “I see him smile and shake his head good-naturedly at me, like, ‘Come on.'” Nichols remembers speaking of death and dying with Johnny; his philosophy was that since we could go at any minute, we had best live like we had no regrets — or at least, try to leave all our relationships on a positive note.\u003c/p>\n\u003cp>Friend Alida Brandenburg remembers how consistently Johnny would “check in on [her,]” and not in a patronizing or protective way — “just in an ‘I’m human and I care about you’ kind of way,” she says. Johnny’s openness and warmth so moved her that she decided to make a change in her life: instead of making small talk with friends at parties, she resolved to ask them, “What are you excited about?”\u003c/p>\n\u003cp>“It’s a small tribute to Johnny,” she says, “and the inspired life he led, and modeled so generously for others.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Hear Johnny Igaz’s DJ sets, mixes, edits and original music as Nackt at \u003ca href=\"https://soundcloud.com/nacktmusic\" target=\"_blank\" rel=\"noopener\">his Soundcloud page\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cem>Read a wide-spanning interview with Johnny Igaz about growing up, his influences, philosophy and technique \u003ca href=\"http://dancedeep.com/2016/09/15/nackt-on-oakland-roots/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cem>Read a remembrance of Johnny Igaz from Hunter Leight \u003ca href=\"https://medium.com/@hunterleight/johnny-johnny-i-love-you-8270dadc3353#.2jxql5jku\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cem>For more of our tributes to the victims of the Oakland warehouse fire, please visit our \u003ca href=\"https://ww2.kqed.org/arts/programs/oakland-warehouse-memorial/\" target=\"_blank\" rel=\"noopener\">remembrances page here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>For a printable poster of the illustration above, \u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/johnnyigazedit.pdf\" target=\"_blank\" rel=\"noopener\">see here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Chris Zaldua remembers beloved friend Johnny Igaz, a pillar of the underground music community whose kindness and selflessness knew no end.\r\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s hard to know where to begin with Johnny Igaz. Do I open by mentioning his lifeblood — his music — and his outsized talent that the world was only just beginning to recognize? Or his deep, abiding sense of humor, which never left him without a smile on his face and left him cracking jokes about his own struggles?\u003c/p>\n\u003cfigure id=\"attachment_12469096\" class=\"wp-caption alignright\" style=\"max-width: 637px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/JOhnny.PW_.2015.jpg\" alt=\"Johnny Igaz at Public Works in 2015.\" width=\"637\" height=\"960\" class=\"size-full wp-image-12469096\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/JOhnny.PW_.2015.jpg 637w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/JOhnny.PW_.2015-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/JOhnny.PW_.2015-240x362.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/JOhnny.PW_.2015-375x565.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/JOhnny.PW_.2015-520x784.jpg 520w\" sizes=\"(max-width: 637px) 100vw, 637px\">\u003cfigcaption class=\"wp-caption-text\">Johnny Igaz at Public Works in 2015. \u003ccite>(Shanna Doherty)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Do I start with his passion for others, which saw him supporting his friends, even new friends he barely knew, in their artistic and creative endeavors, without fail? Or his commitment to causes he believed in — veganism, feminism, racial justice, non-violence, fair pay for artists, musicians, and creators, to list but a few? Or, more simply, his philosophy of kindness and positivity, which saw him continually pushing himself on an elemental level to do the hard work necessary to be thankful for all the gifts life gave him, to pay no heed to the hardships he could not control, and to take nothing for granted?\u003c/p>\n\u003cp>In truth, none of the above does Johnny justice. Perhaps more than any other person I’ve known in life, Johnny was a man of infinite multitudes. From the very first time I met him, he greeted me with a warm hug and engaged in genuine conversation with me, paying me rapt attention and listening earnestly to what I had to say. Then and there, I was smitten. He was one of a kind.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Music was the foundation of my relationship with Johnny. Music seemed to be the foundation of Johnny’s life, as a matter of fact. We bonded early over artists like U.K. techno producer Boddika, whose squirrelly, stripped-down hardware jams, like “\u003ca href=\"https://www.youtube.com/watch?v=bHS-kvBrEx0\" target=\"_blank\" rel=\"noopener\">Acid Battery\u003c/a>,” proved hugely influential on Johnny’s own work as Nackt. We quickly moved beyond electronic music and realized we shared a love of much other outsider music: the \u003ca href=\"https://www.youtube.com/watch?v=vFc8CDESpH8\" target=\"_blank\" rel=\"noopener\">sludgy stoner metal\u003c/a> of Electric Wizard; the undulating psychedelia of Earthless; the \u003ca href=\"https://www.youtube.com/watch?v=gzvWSKQyBO8\" target=\"_blank\" rel=\"noopener\">jazzy, dusty downtempo grooves\u003c/a> of Amon Tobin; and so much more. Johnny turned me onto so many good tunes: Electronic System’s \u003ca href=\"https://www.youtube.com/watch?v=cIwDLN2X6Rs\" target=\"_blank\" rel=\"noopener\">far-out library music\u003c/a>, or Ebenezer Obey’s \u003ca href=\"https://www.youtube.com/watch?v=mAt9OG61XP8\" target=\"_blank\" rel=\"noopener\">long-form Nigerian Afrobeat\u003c/a>, to pick just two. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But music isn’t the reason I’ll remember Johnny forever.\u003c/p>\n\u003cfigure id=\"attachment_12469097\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/JohnnyIgaz.Trust_-800x583.jpg\" alt=\"Johnny Igaz, always empowering others to be their best selves.\" width=\"800\" height=\"583\" class=\"size-medium wp-image-12469097\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/JohnnyIgaz.Trust_-800x583.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/JohnnyIgaz.Trust_-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/JohnnyIgaz.Trust_-768x559.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/JohnnyIgaz.Trust_-240x175.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/JohnnyIgaz.Trust_-375x273.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/JohnnyIgaz.Trust_-520x379.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/JohnnyIgaz.Trust_.jpg 938w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Johnny Igaz, always empowering others to be their best selves.\u003c/figcaption>\u003c/figure>\n\u003cp>Johnny was one of the few people I’ve encountered in life who taught me how to be a better person. We debated often: issues, causes, problems, seeking possible solutions or best practices. Time after time, Johnny helped me do the right thing. Johnny was always re-evaluating his own positions, stances, and actions, asking himself (and me in turn) how he could do better, be more just, and do less harm. He stumbled often — he was human, after all. But it was the asking that counted. \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/edwTNHK4iUY'\n title='//www.youtube.com/embed/edwTNHK4iUY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>More than that, Johnny showed me how to be a man. I’m a music geek who writes for a living who loves clothes and video games; I’m not exactly a “man’s man,” and I’ve long struggled with traditional notions of masculinity and what kind of man, exactly, I am supposed to be. Johnny is perhaps the first close male friend I’ve had who was unabashed about his sensitivity; who told his friends he loved them repeatedly; who not only didn’t disregard touch and physical contact, but actively sought it out. Johnny helped me feel safe in my own skin, cementing within me that who I am is the person I ought to be. \u003c/p>\n\u003cfigure id=\"attachment_12469285\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/Johnny.Miles_-800x533.jpg\" alt=\"Johnny Igaz.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-12469285\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Johnny.Miles_-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Johnny.Miles_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Johnny.Miles_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Johnny.Miles_.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Johnny.Miles_-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Johnny.Miles_-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Johnny.Miles_-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Johnny Igaz. \u003ccite>(Amanda Allen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For years, Johnny and I had the same conversation, time and time again: “Is it time to leave?” The Bay Area is home for both of us, and both of us love it with every fiber of our beings. But remaining here is a struggle, especially once we both decided to commit full-time to our creative passions: music his, writing mine. \u003c/p>\n\u003cp>Time and time again, one of us would feel low, ready to throw in the towel: \u003cem>That’s it — I’m just gonna move to L.A., Seattle, Toronto, New York, anywhere\u003c/em>. Time and time again, one of us would counsel the other: “Hang in there; it’s hard right now, I know; so many friends have (moved, been evicted, given up hope); give it a few weeks — the tide will turn.” Invariably, we’d convince the other to stick around, and both our moods would lift.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”150″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/209469667″&visual=true&”auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true”'\n title='”https://api.soundcloud.com/tracks/209469667″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Just weeks ago, we had this conversation again — except this time, we both agreed that something had changed. Both San Francisco and Oakland felt more vibrant than ever; mood on the street felt positive; people were coming together, beginning new projects, and creativity seemed on the upswing, despite the dark storm clouding our nation. We agreed to work on new projects together, excited by the prospects that lay ahead.\u003c/p>\n\u003cp>After last weekend, my resolve is stronger than ever — I’m not giving up. For Johnny.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>None of these sentiments are mine alone. The outpouring of love, fondness, and support from Johnny’s family and friends — and perhaps most remarkably, from those who barely knew him at all — has been nothing short of an avalanche. Dear readers, forgive me: what anecdotes I share here cannot possibly stand in for the innumerable tributes from those he touched, but I will try, anyway.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/Johnny.Poms_-800x533.jpg\" alt=\"johnny-poms\" width=\"800\" height=\"533\" class=\"aligncenter size-medium wp-image-12469283\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Johnny.Poms_-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Johnny.Poms_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Johnny.Poms_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Johnny.Poms_-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Johnny.Poms_-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Johnny.Poms_-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Johnny.Poms_-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Johnny.Poms_-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Johnny.Poms_-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Johnny.Poms_.jpg 1440w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Brother Paul Igaz states with certainty that no single person affected or influenced his life as much as Johnny did. Paul recounts how, steadily and gradually, Johnny instilled in him a love of music; that over time, Paul followed Johnny’s “growth as a person and as a lover of music, which were in many ways the same thing.” Paul recounts that he, Johnny, and sister Teresa (who died in 2015) all had different but firmly held concepts of what is “right and just,” and that this led each in different directions. For Teresa, this meant a career in public health, specifically mental health for youth; for Paul, a career in teaching and education. Johnny infused this spirit into his career as a musician and artist. What stands out about Johnny’s beliefs and ethics, Paul says, is “how public he’s always been about [them,]” in contrast to the reservedness of himself and Teresa, and how inspiring that is to him as a person. \u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3128304709/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=3304925442/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>For long-time friend and event-hosting partner Jeremy Bispo, it is “hard to disconnect [Johnny’s] love for music with his love for people and community.” Johnny worked tirelessly to improve his craft, Bispo says, “but would still prefer to give others a chance to shine over himself.” Bispo remembers fondly how seriously Johnny took the task of curating lineups for their parties and events: “He brought a broader perspective on diversity, and elevated the importance of representing community without sacrificing quality to the utmost.” \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/JohnnyIgaz.Cut_-800x800.jpg\" alt=\"johnnyigaz-cut\" width=\"600\" height=\"600\" class=\"aligncenter size-medium wp-image-12469284\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/JohnnyIgaz.Cut_-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/JohnnyIgaz.Cut_-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/JohnnyIgaz.Cut_-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/JohnnyIgaz.Cut_.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/JohnnyIgaz.Cut_-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/JohnnyIgaz.Cut_-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/JohnnyIgaz.Cut_-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/JohnnyIgaz.Cut_-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/JohnnyIgaz.Cut_-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/JohnnyIgaz.Cut_-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/JohnnyIgaz.Cut_-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/JohnnyIgaz.Cut_-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/JohnnyIgaz.Cut_-150x150.jpg 150w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\u003cp>Former partner, forever family Hunter Leight says the most important thing he taught her was “to build up community, to support and nurture our chosen families, and to remember that we’re all in this together.” For fellow DJ and music lover Sam Bloom, Johnny “really set the standard for what it meant to be someone’s friend,” he says. He recounts the last time they really spent time together, in October, soon after Johnny had been hired as the music buyer for San Francisco’s Green Apple Books. Bloom says Johnny spoke about how “music scenes need all types of people and spaces … it takes an entire community to make a scene, and everyone’s role is key.” In Johnny’s mind, Bloom recounts, “he was just doing his part, and he made me feel empowered to do mine.” \u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”150″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/294113276″&visual=true&”auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true”'\n title='”https://api.soundcloud.com/tracks/294113276″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Friend and musical collaborator Cassidy Martin says Johnny was his “primary music mentor,” and his lessons of “detail, restraint, and discipline” left Martin a much improved artist. He remembers that Johnny would describe the music community writ large as a “Venn diagram,” and made the effort to “shade in those areas, connect the dots between people.” That’s why parties were so important to him: “He wanted different parts of the community to meet, connect, and strengthen — organically,” he says. \u003c/p>\n\u003cfigure id=\"attachment_12469286\" class=\"wp-caption alignright\" style=\"max-width: 384px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/JOhnny.Beach_.jpg\" alt=\"Johnny Igaz.\" width=\"384\" height=\"512\" class=\"size-full wp-image-12469286\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/JOhnny.Beach_.jpg 384w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/JOhnny.Beach_-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/JOhnny.Beach_-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/JOhnny.Beach_-375x500.jpg 375w\" sizes=\"(max-width: 384px) 100vw, 384px\">\u003cfigcaption class=\"wp-caption-text\">Johnny Igaz. \u003ccite>(via Facebook)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Renee Nichols, Johnny’s first love (who knew him simply as John), says that “Ironically, one of the people who’s helping me through this loss the most is him [Johnny].” “Whenever I have a despairing thought,” she says, “I see him smile and shake his head good-naturedly at me, like, ‘Come on.'” Nichols remembers speaking of death and dying with Johnny; his philosophy was that since we could go at any minute, we had best live like we had no regrets — or at least, try to leave all our relationships on a positive note.\u003c/p>\n\u003cp>Friend Alida Brandenburg remembers how consistently Johnny would “check in on [her,]” and not in a patronizing or protective way — “just in an ‘I’m human and I care about you’ kind of way,” she says. Johnny’s openness and warmth so moved her that she decided to make a change in her life: instead of making small talk with friends at parties, she resolved to ask them, “What are you excited about?”\u003c/p>\n\u003cp>“It’s a small tribute to Johnny,” she says, “and the inspired life he led, and modeled so generously for others.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Hear Johnny Igaz’s DJ sets, mixes, edits and original music as Nackt at \u003ca href=\"https://soundcloud.com/nacktmusic\" target=\"_blank\" rel=\"noopener\">his Soundcloud page\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cem>Read a wide-spanning interview with Johnny Igaz about growing up, his influences, philosophy and technique \u003ca href=\"http://dancedeep.com/2016/09/15/nackt-on-oakland-roots/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cem>Read a remembrance of Johnny Igaz from Hunter Leight \u003ca href=\"https://medium.com/@hunterleight/johnny-johnny-i-love-you-8270dadc3353#.2jxql5jku\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cem>For more of our tributes to the victims of the Oakland warehouse fire, please visit our \u003ca href=\"https://ww2.kqed.org/arts/programs/oakland-warehouse-memorial/\" target=\"_blank\" rel=\"noopener\">remembrances page here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>For a printable poster of the illustration above, \u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/johnnyigazedit.pdf\" target=\"_blank\" rel=\"noopener\">see here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Travis Hough, Synth Composer and Singer Who Inspired East Bay Students",
"headTitle": "Travis Hough, Synth Composer and Singer Who Inspired East Bay Students | KQED",
"content": "\u003cp>In the days after his son’s death, Brian Hough shared of a photo of Travis Hough in a Facebook remembrance. It shows Travis as a young man with long hair and a wry smile. \u003c/p>\n\u003cp>The story Brian posted perfectly matches the photo.\u003c/p>\n\u003cfigure id=\"attachment_12452385\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/TravisHough-800x800.jpg\" alt=\"Travis Hough\" width=\"800\" height=\"800\" class=\"size-medium wp-image-12452385\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/TravisHough-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/TravisHough-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/TravisHough-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/TravisHough.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/TravisHough-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/TravisHough-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/TravisHough-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/TravisHough-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/TravisHough-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/TravisHough-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/TravisHough-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/TravisHough-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/TravisHough-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Travis Hough.\u003c/figcaption>\u003c/figure>\n\u003cp>He remembers taking Travis and a high school bandmate on a trip to Reno. “They strode into the Reno Hilton with guitars on their backs, Doc Martens, and rock star attitudes,” Brian writes. \u003c/p>\n\u003cp>Soon after checking in, Brian says he, “got a call from security that they had been seen ‘smoking’ and were in the basement. I went down and with righteous indignation told these security guys to leave them alone… Rock on you crazy diamonds.”\u003c/p>\n\u003cp>Hough, who died at age 35 in the Oakland warehouse fire, rocked on as a member of \u003ca href=\"https://www.youtube.com/channel/UCO8zydjYzXhilY8Aoy-saEg\" target=\"_blank\" rel=\"noopener\">Ghost of Lightning\u003c/a>, an electro-synth group that regularly played in Oakland. With the thick textures of his analog synthesizer, Hough wrote and performed intricate, goth-pop originals and, in some cases, \u003ca href=\"https://www.youtube.com/watch?v=p4VjeIFhCEs\" target=\"_blank\" rel=\"noopener\">David Bowie covers\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=PuvDkTJM3jg\u003c/p>\n\u003cp>“Brilliant, for one,” says Michelle Campbell, founder of the Oakland-based artist management company, Mixtape Artist Management, describing Hough and the two other artists she also worked with who were lost in the fire. “Extremely, extremely talented. They were experimenting always with the different sounds they were able to create.”\u003c/p>\n\u003cfigure id=\"attachment_12452386\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/TravisHough2-800x798.jpg\" alt=\"Travis Hough\" width=\"800\" height=\"798\" class=\"size-medium wp-image-12452386\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/TravisHough2-800x798.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/TravisHough2-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/TravisHough2-768x766.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/TravisHough2.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/TravisHough2-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/TravisHough2-375x374.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/TravisHough2-520x519.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/TravisHough2-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/TravisHough2-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/TravisHough2-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/TravisHough2-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/TravisHough2-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/TravisHough2-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Travis Hough.\u003c/figcaption>\u003c/figure>\n\u003cp>“Travis believed that healing through music is not only possible, but also necessary, and shared that belief with others in everything that he did,” reads a message about Hough on the Mixtape Artist Management website.\u003c/p>\n\u003cp>One fan wrote on the band’s Facebook page: “I knew your sparkling spirit through your really great music and you bringing together the synth community in your neck of the woods, and bringing therapy in the form of expression.”\u003c/p>\n\u003cp>In addition to his life as a musician, Hough also worked as an expressive arts therapist at the West Contra Costa Unified School District. The school district also lost Sara Hoda, another teacher in its community. Superintendent Matttew Duffy echoes many: “The loss,” he says, “is heartbreaking.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Hear Hough’s music in Ghost of Lightning \u003ca href=\"https://ghostoflightning.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cem>See Hough performing \u003ca href=\"https://www.youtube.com/channel/UCO8zydjYzXhilY8Aoy-saEg\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003cem>For more of our tributes to the victims of the Oakland warehouse fire, please visit our \u003ca href=\"https://ww2.kqed.org/arts/programs/oakland-warehouse-memorial/\" target=\"_blank\" rel=\"noopener\">remembrances page here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>For a printable poster of the illustration above, \u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/travishoughedit.pdf\" target=\"_blank\" rel=\"noopener\">see here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the days after his son’s death, Brian Hough shared of a photo of Travis Hough in a Facebook remembrance. It shows Travis as a young man with long hair and a wry smile. \u003c/p>\n\u003cp>The story Brian posted perfectly matches the photo.\u003c/p>\n\u003cfigure id=\"attachment_12452385\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/TravisHough-800x800.jpg\" alt=\"Travis Hough\" width=\"800\" height=\"800\" class=\"size-medium wp-image-12452385\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/TravisHough-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/TravisHough-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/TravisHough-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/TravisHough.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/TravisHough-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/TravisHough-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/TravisHough-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/TravisHough-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/TravisHough-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/TravisHough-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/TravisHough-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/TravisHough-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/TravisHough-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Travis Hough.\u003c/figcaption>\u003c/figure>\n\u003cp>He remembers taking Travis and a high school bandmate on a trip to Reno. “They strode into the Reno Hilton with guitars on their backs, Doc Martens, and rock star attitudes,” Brian writes. \u003c/p>\n\u003cp>Soon after checking in, Brian says he, “got a call from security that they had been seen ‘smoking’ and were in the basement. I went down and with righteous indignation told these security guys to leave them alone… Rock on you crazy diamonds.”\u003c/p>\n\u003cp>Hough, who died at age 35 in the Oakland warehouse fire, rocked on as a member of \u003ca href=\"https://www.youtube.com/channel/UCO8zydjYzXhilY8Aoy-saEg\" target=\"_blank\" rel=\"noopener\">Ghost of Lightning\u003c/a>, an electro-synth group that regularly played in Oakland. With the thick textures of his analog synthesizer, Hough wrote and performed intricate, goth-pop originals and, in some cases, \u003ca href=\"https://www.youtube.com/watch?v=p4VjeIFhCEs\" target=\"_blank\" rel=\"noopener\">David Bowie covers\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/PuvDkTJM3jg'\n title='//www.youtube.com/embed/PuvDkTJM3jg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“Brilliant, for one,” says Michelle Campbell, founder of the Oakland-based artist management company, Mixtape Artist Management, describing Hough and the two other artists she also worked with who were lost in the fire. “Extremely, extremely talented. They were experimenting always with the different sounds they were able to create.”\u003c/p>\n\u003cfigure id=\"attachment_12452386\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/TravisHough2-800x798.jpg\" alt=\"Travis Hough\" width=\"800\" height=\"798\" class=\"size-medium wp-image-12452386\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/TravisHough2-800x798.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/TravisHough2-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/TravisHough2-768x766.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/TravisHough2.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/TravisHough2-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/TravisHough2-375x374.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/TravisHough2-520x519.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/TravisHough2-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/TravisHough2-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/TravisHough2-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/TravisHough2-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/TravisHough2-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/TravisHough2-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Travis Hough.\u003c/figcaption>\u003c/figure>\n\u003cp>“Travis believed that healing through music is not only possible, but also necessary, and shared that belief with others in everything that he did,” reads a message about Hough on the Mixtape Artist Management website.\u003c/p>\n\u003cp>One fan wrote on the band’s Facebook page: “I knew your sparkling spirit through your really great music and you bringing together the synth community in your neck of the woods, and bringing therapy in the form of expression.”\u003c/p>\n\u003cp>In addition to his life as a musician, Hough also worked as an expressive arts therapist at the West Contra Costa Unified School District. The school district also lost Sara Hoda, another teacher in its community. Superintendent Matttew Duffy echoes many: “The loss,” he says, “is heartbreaking.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Hear Hough’s music in Ghost of Lightning \u003ca href=\"https://ghostoflightning.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cem>See Hough performing \u003ca href=\"https://www.youtube.com/channel/UCO8zydjYzXhilY8Aoy-saEg\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003cem>For more of our tributes to the victims of the Oakland warehouse fire, please visit our \u003ca href=\"https://ww2.kqed.org/arts/programs/oakland-warehouse-memorial/\" target=\"_blank\" rel=\"noopener\">remembrances page here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>For a printable poster of the illustration above, \u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/travishoughedit.pdf\" target=\"_blank\" rel=\"noopener\">see here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"order": 16
},
"link": "/podcasts/rightnowish",
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