window.__IS_SSR__=true
window.__INITIAL_STATE__={
"attachmentsReducer": {
"audio_0": {
"type": "attachments",
"id": "audio_0",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background0.jpg"
}
}
},
"audio_1": {
"type": "attachments",
"id": "audio_1",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background1.jpg"
}
}
},
"audio_2": {
"type": "attachments",
"id": "audio_2",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background2.jpg"
}
}
},
"audio_3": {
"type": "attachments",
"id": "audio_3",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background3.jpg"
}
}
},
"audio_4": {
"type": "attachments",
"id": "audio_4",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background4.jpg"
}
}
},
"placeholder": {
"type": "attachments",
"id": "placeholder",
"imgSizes": {
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-160x107.jpg",
"width": 160,
"height": 107,
"mimeType": "image/jpeg"
},
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-800x533.jpg",
"width": 800,
"height": 533,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-768x512.jpg",
"width": 768,
"height": 512,
"mimeType": "image/jpeg"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1020x680.jpg",
"width": 1020,
"height": 680,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1536x1024.jpg",
"width": 1536,
"height": 1024,
"mimeType": "image/jpeg"
},
"fd-lrg": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1536x1024.jpg",
"width": 1536,
"height": 1024,
"mimeType": "image/jpeg"
},
"fd-med": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1020x680.jpg",
"width": 1020,
"height": 680,
"mimeType": "image/jpeg"
},
"fd-sm": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-800x533.jpg",
"width": 800,
"height": 533,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"xxsmall": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-160x107.jpg",
"width": 160,
"height": 107,
"mimeType": "image/jpeg"
},
"xsmall": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"small": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"xlarge": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1020x680.jpg",
"width": 1020,
"height": 680,
"mimeType": "image/jpeg"
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1920x1280.jpg",
"width": 1920,
"height": 1280,
"mimeType": "image/jpeg"
},
"guest-author-32": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 32,
"height": 32,
"mimeType": "image/jpeg"
},
"guest-author-50": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 50,
"height": 50,
"mimeType": "image/jpeg"
},
"guest-author-64": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 64,
"height": 64,
"mimeType": "image/jpeg"
},
"guest-author-96": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 96,
"height": 96,
"mimeType": "image/jpeg"
},
"guest-author-128": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 128,
"height": 128,
"mimeType": "image/jpeg"
},
"detail": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 160,
"height": 160,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1.jpg",
"width": 2000,
"height": 1333
}
}
},
"arts_13924559": {
"type": "attachments",
"id": "arts_13924559",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13924559",
"found": true
},
"parent": 13923978,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/01/DaveyD.KALX_.sq_-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/01/DaveyD.KALX_.sq_-160x160.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 160
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/01/DaveyD.KALX_.sq_-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/01/DaveyD.KALX_.sq_.jpg",
"width": 1529,
"height": 1529
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/01/DaveyD.KALX_.sq_-1020x1020.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 1020
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/01/DaveyD.KALX_.sq_-800x800.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 800
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/01/DaveyD.KALX_.sq_-768x768.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 768
}
},
"publishDate": 1675239814,
"modified": 1675239845,
"caption": "Davey D is pictured here hosting his radio show on KALX in 1990. In the very early years of Bay Area hip-hop, Davey D says, the culture was still finding its place in society, and had yet to be defined.",
"description": null,
"title": "DaveyD.KALX.sq",
"credit": "KQED",
"status": "inherit",
"altTag": "A man in a yellow cycling cap talks into a microphone, with shelves of records in the background.",
"isLoading": false,
"fetchFailed": false
},
"arts_13924541": {
"type": "attachments",
"id": "arts_13924541",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13924541",
"found": true
},
"parent": 13923978,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/01/DaveyD.KALX_.1990-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/01/DaveyD.KALX_.1990-160x104.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 104
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/01/DaveyD.KALX_.1990-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/01/DaveyD.KALX_.1990.jpg",
"width": 2350,
"height": 1529
},
"2048x2048": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/01/DaveyD.KALX_.1990-2048x1333.jpg",
"width": 2048,
"mimeType": "image/jpeg",
"height": 1333
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/01/DaveyD.KALX_.1990-1020x664.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 664
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/01/DaveyD.KALX_.1990-1536x999.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 999
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/01/DaveyD.KALX_.1990-1920x1249.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1249
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/01/DaveyD.KALX_.1990-800x521.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 521
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/01/DaveyD.KALX_.1990-768x500.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 500
}
},
"publishDate": 1675203539,
"modified": 1675203686,
"caption": "Davey D is pictured here hosting his radio show on KALX in 1990. In the very early years of Bay Area hip-hop, Davey D says, the culture was still finding its place in society, and had yet to be defined.",
"description": null,
"title": "DaveyD.KALX.1990",
"credit": "KQED",
"status": "inherit",
"altTag": "A man in a yellow cycling cap talks into a microphone, with shelves of records in the background.",
"isLoading": false,
"fetchFailed": false
},
"arts_13924461": {
"type": "attachments",
"id": "arts_13924461",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13924461",
"found": true
},
"parent": 13924375,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/01/GettyImages-1169733361-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/01/GettyImages-1169733361-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/01/GettyImages-1169733361-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/01/GettyImages-1169733361.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/01/GettyImages-1169733361-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/01/GettyImages-1169733361-1536x864.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 864
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/01/GettyImages-1169733361-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/01/GettyImages-1169733361-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1675121182,
"modified": 1675121269,
"caption": "Ambrose Akinmusire pictured in 2019. Akinmusire, who received his second Grammy nomination in November, will be skipping the award show in favor of his own residency at SFJAZZ, Feb. 3–5 and Feb. 9 at Grace Cathedral in San Francisco.",
"description": null,
"title": "GettyImages-1169733361",
"credit": "Peter Van Breukelen/Redferns/Getty Images",
"status": "inherit",
"altTag": "Black man in baseball cap plays trumpet with eyes closed",
"isLoading": false,
"fetchFailed": false
},
"arts_13923021": {
"type": "attachments",
"id": "arts_13923021",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13923021",
"found": true
},
"parent": 13923005,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/12/osechi_chikuzenni-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/12/osechi_chikuzenni-160x110.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 110
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/12/osechi_chikuzenni-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/12/osechi_chikuzenni.jpg",
"width": 1920,
"height": 1318
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/12/osechi_chikuzenni-1020x700.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 700
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/12/osechi_chikuzenni-1536x1054.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 1054
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/12/osechi_chikuzenni-800x549.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 549
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/12/osechi_chikuzenni-768x527.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 527
}
},
"publishDate": 1671562485,
"modified": 1671562731,
"caption": "Chikuzenni, or simmered chicken with root vegetables, is one of the traditional dishes that chef Yuji Ishikata will be featuring in his Japanese New Year's pop-up.",
"description": null,
"title": "osechi_chikuzenni",
"credit": "Courtesy of J-Sei",
"status": "inherit",
"altTag": "Overhead view of wooden Japanese New Year's boxes filled with simmered chicken and root vegetables.",
"isLoading": false,
"fetchFailed": false
},
"arts_13921572": {
"type": "attachments",
"id": "arts_13921572",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13921572",
"found": true
},
"parent": 13921567,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/GreatComet_Ensemble_Credit_BenjaminKrantz-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/GreatComet_Ensemble_Credit_BenjaminKrantz-160x107.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 107
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/GreatComet_Ensemble_Credit_BenjaminKrantz-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/GreatComet_Ensemble_Credit_BenjaminKrantz.jpg",
"width": 2000,
"height": 1333
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/GreatComet_Ensemble_Credit_BenjaminKrantz-1020x680.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 680
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/GreatComet_Ensemble_Credit_BenjaminKrantz-1536x1024.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 1024
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/GreatComet_Ensemble_Credit_BenjaminKrantz-1920x1280.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1280
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/GreatComet_Ensemble_Credit_BenjaminKrantz-800x533.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 533
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/GreatComet_Ensemble_Credit_BenjaminKrantz-768x512.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 512
}
},
"publishDate": 1668448859,
"modified": 1668448993,
"caption": "Shotgun Players ensemble cast for Natasha, Pierre & the Great Comet of 1812, by Dave Malloy",
"description": "Shotgun Players ensemble cast for the Great Comet of 1812 dancing onstage and leaping into the air with arms raised in stage jubilation.",
"title": "GreatComet_Ensemble_Credit_BenjaminKrantz",
"credit": "Benjamin Krantz",
"status": "inherit",
"altTag": "Shotgun Players ensemble cast for the Great Comet of 1812 dancing onstage and leaping into the air with arms raised in stage jubilation",
"isLoading": false,
"fetchFailed": false
},
"arts_13921335": {
"type": "attachments",
"id": "arts_13921335",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13921335",
"found": true
},
"parent": 13921333,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/colonialism-is-terrible-rehearsal-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/colonialism-is-terrible-rehearsal-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/colonialism-is-terrible-rehearsal-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/colonialism-is-terrible-rehearsal-scaled.jpg",
"width": 2560,
"height": 1440
},
"2048x2048": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/colonialism-is-terrible-rehearsal-2048x1152.jpg",
"width": 2048,
"mimeType": "image/jpeg",
"height": 1152
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/colonialism-is-terrible-rehearsal-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/colonialism-is-terrible-rehearsal-1536x864.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 864
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/colonialism-is-terrible-rehearsal-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/colonialism-is-terrible-rehearsal-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/colonialism-is-terrible-rehearsal-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1667588349,
"modified": 1667588566,
"caption": "Actors Nicole Tung, Elissa Beth Stebbins and Anthony Doan rehearse a scene in Dustin Chinn's new play, 'Colonialism Is Terrible, But Pho Is Delicious,' at the Aurora Theatre in Berkeley.",
"description": null,
"title": "colonialism is terrible - rehearsal",
"credit": "Courtesy of Dustin Chinn",
"status": "inherit",
"altTag": "Three actors in 19th century colonial costumes rehearse a scene in a play.",
"isLoading": false,
"fetchFailed": false
},
"arts_13921224": {
"type": "attachments",
"id": "arts_13921224",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13921224",
"found": true
},
"parent": 13921216,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/hal-with-alan-crop-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/hal-with-alan-crop-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/hal-with-alan-crop-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/hal-with-alan-crop.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/hal-with-alan-crop-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/hal-with-alan-crop-1536x864.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 864
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/hal-with-alan-crop-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/hal-with-alan-crop-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1667422760,
"modified": 1667500868,
"caption": "KQED writer Alan Chazaro (left), stands with Hal Gordon (left center) and friends in 2021.",
"description": null,
"title": "hal with alan-crop",
"credit": "Kumar Butlar",
"status": "inherit",
"altTag": "A's fans standing with hot dog vendor, Hal Gordon, at the Oakland Coliseum",
"isLoading": false,
"fetchFailed": false
},
"arts_13920374": {
"type": "attachments",
"id": "arts_13920374",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13920374",
"found": true
},
"parent": 13920367,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/10/IMG_4086-1038x576.jpeg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/10/IMG_4086-160x105.jpeg",
"width": 160,
"mimeType": "image/jpeg",
"height": 105
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/10/IMG_4086-672x372.jpeg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/10/IMG_4086.jpeg",
"width": 2048,
"height": 1341
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/10/IMG_4086-1020x668.jpeg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 668
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/10/IMG_4086-1536x1006.jpeg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 1006
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/10/IMG_4086-1920x1257.jpeg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1257
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/10/IMG_4086-800x524.jpeg",
"width": 800,
"mimeType": "image/jpeg",
"height": 524
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/10/IMG_4086-768x503.jpeg",
"width": 768,
"mimeType": "image/jpeg",
"height": 503
}
},
"publishDate": 1665703909,
"modified": 1665704100,
"caption": "Joe Kapp signs autographs during a ceremony at El Sausal Middle School in East Salinas.",
"description": null,
"title": "IMG_4086",
"credit": "Nick Lozito",
"status": "inherit",
"altTag": "an older man in a black cowboy hat signs autographs for a crowd while photographers snap photos",
"isLoading": false,
"fetchFailed": false
},
"arts_13920202": {
"type": "attachments",
"id": "arts_13920202",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13920202",
"found": true
},
"parent": 13920198,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/10/zumbi-with-kids-1038x576.jpeg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/10/zumbi-with-kids-160x107.jpeg",
"width": 160,
"mimeType": "image/jpeg",
"height": 107
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/10/zumbi-with-kids-672x372.jpeg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/10/zumbi-with-kids.jpeg",
"width": 1200,
"height": 800
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/10/zumbi-with-kids-1020x680.jpeg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 680
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/10/zumbi-with-kids-800x533.jpeg",
"width": 800,
"mimeType": "image/jpeg",
"height": 533
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/10/zumbi-with-kids-768x512.jpeg",
"width": 768,
"mimeType": "image/jpeg",
"height": 512
}
},
"publishDate": 1665276339,
"modified": 1665277167,
"caption": "Those who knew Stephen Gaines remember him as a loving father of three boys, a brilliant lyricist and a spiritual practitioner. ",
"description": null,
"title": "zumbi with kids",
"credit": "GoFundMe",
"status": "inherit",
"altTag": null,
"isLoading": false,
"fetchFailed": false
},
"arts_13901547": {
"type": "attachments",
"id": "arts_13901547",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13901547",
"found": true
},
"parent": 13901531,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/08/Gines.Circle-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/08/Gines.Circle-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/08/Gines.Circle-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/08/Gines.Circle.jpg",
"width": 1120,
"height": 630
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/08/Gines.Circle-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/08/Gines.Circle-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/08/Gines.Circle-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1629394667,
"modified": 1664985424,
"caption": "Friends and family remember Steve 'Zumbi' Gaines as an insightful lyricist, spiritual practitioner and devoted father. ",
"description": "Friends and family remember Steve 'Zumbi' Gaines as an insightful lyricist, spiritual practitioner and devoted father. Now, lawyers are investigating the cause of his untimely death at Alta Bates Summit Medical Center. ",
"title": "Gines.Circle",
"credit": "\u003ca href=\"http://jasonsinnphotography.com\" target=\"_blank\" rel=\"noopener noreferrer\">Jason Sinn\u003c/a>",
"status": "inherit",
"altTag": "Friends and family remember Steve 'Zumbi' Gaines as an insightful lyricist, spiritual practitioner and devoted father. Now, lawyers are investigating the cause of his untimely death at Alta Bates Summit Medical Center.",
"isLoading": false,
"fetchFailed": false
},
"arts_13919828": {
"type": "attachments",
"id": "arts_13919828",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13919828",
"found": true
},
"parent": 0,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/09/hua.MAIN_-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/09/hua.MAIN_-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/09/hua.MAIN_-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/09/hua.MAIN_.jpg",
"width": 2139,
"height": 1203
},
"2048x2048": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/09/hua.MAIN_-2048x1152.jpg",
"width": 2048,
"mimeType": "image/jpeg",
"height": 1152
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/09/hua.MAIN_-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/09/hua.MAIN_-1536x864.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 864
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/09/hua.MAIN_-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/09/hua.MAIN_-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/09/hua.MAIN_-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1664477782,
"modified": 1664480879,
"caption": "Hua Hsu's memoir 'Stay True' brings the 1990s Bay Area to life in an evocative story of male friendship cut short too soon.",
"description": null,
"title": "hua.MAIN",
"credit": "Devlin Claro/Doubleday",
"status": "inherit",
"altTag": "A 40-ish Asian American man poses in front of a tree with pink flowers, in a diptych with an orange book cover showing a young man taking a photo",
"isLoading": false,
"fetchFailed": false
},
"arts_13918897": {
"type": "attachments",
"id": "arts_13918897",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13918897",
"found": true
},
"parent": 13918872,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/09/Thumbnail-Sophia-1038x576.png",
"width": 1038,
"mimeType": "image/png",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/09/Thumbnail-Sophia-160x90.png",
"width": 160,
"mimeType": "image/png",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/09/Thumbnail-Sophia-672x372.png",
"width": 672,
"mimeType": "image/png",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/09/Thumbnail-Sophia.png",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/09/Thumbnail-Sophia-1020x574.png",
"width": 1020,
"mimeType": "image/png",
"height": 574
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/09/Thumbnail-Sophia-1536x864.png",
"width": 1536,
"mimeType": "image/png",
"height": 864
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/09/Thumbnail-Sophia-800x450.png",
"width": 800,
"mimeType": "image/png",
"height": 450
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/09/Thumbnail-Sophia-768x432.png",
"width": 768,
"mimeType": "image/png",
"height": 432
}
},
"publishDate": 1662674249,
"modified": 1662680958,
"caption": "Sophia Blum, a.k.a Pio Poke. ",
"description": null,
"title": "Thumbnail Sophia",
"credit": "Photo by Beth LeBarge, Design by Becca Kao/KQED",
"status": "inherit",
"altTag": null,
"isLoading": false,
"fetchFailed": false
},
"arts_13918593": {
"type": "attachments",
"id": "arts_13918593",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13918593",
"found": true
},
"parent": 13918498,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/09/Thumbnail-Miguel-1-1-1038x576.png",
"width": 1038,
"mimeType": "image/png",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/09/Thumbnail-Miguel-1-1-160x90.png",
"width": 160,
"mimeType": "image/png",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/09/Thumbnail-Miguel-1-1-672x372.png",
"width": 672,
"mimeType": "image/png",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/09/Thumbnail-Miguel-1-1.png",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/09/Thumbnail-Miguel-1-1-1020x574.png",
"width": 1020,
"mimeType": "image/png",
"height": 574
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/09/Thumbnail-Miguel-1-1-1536x864.png",
"width": 1536,
"mimeType": "image/png",
"height": 864
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/09/Thumbnail-Miguel-1-1-800x450.png",
"width": 800,
"mimeType": "image/png",
"height": 450
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/09/Thumbnail-Miguel-1-1-768x432.png",
"width": 768,
"mimeType": "image/png",
"height": 432
}
},
"publishDate": 1662075701,
"modified": 1662092023,
"caption": null,
"description": "Miguel Bounce Perez wears a white t-shirt. In the background is an enlarged photo of his hand using a tattoo gun on a client's arm. ",
"title": "Thumbnail Miguel 1 (1)",
"credit": "Photo by Beth LeBarge, Design by Becca Kao/KQED",
"status": "inherit",
"altTag": null,
"isLoading": false,
"fetchFailed": false
}
},
"audioPlayerReducer": {
"postId": "stream_live",
"isPaused": true,
"isPlaying": false,
"pfsActive": false,
"pledgeModalIsOpen": true,
"playerDrawerIsOpen": false,
"liveAudioPlayStartedAt": 0,
"liveAudioPlayContext": ""
},
"authorsReducer": {
"byline_arts_13920367": {
"type": "authors",
"id": "byline_arts_13920367",
"meta": {
"override": true
},
"slug": "byline_arts_13920367",
"name": "Nick Lozito",
"isLoading": false
},
"gmeline": {
"type": "authors",
"id": "185",
"meta": {
"index": "authors_1716337520",
"id": "185",
"found": true
},
"name": "Gabe Meline",
"firstName": "Gabe",
"lastName": "Meline",
"slug": "gmeline",
"email": "gmeline@kqed.org",
"display_author_email": true,
"staff_mastheads": [
"arts"
],
"title": "Senior Editor, KQED Arts & Culture",
"bio": "Gabe Meline entered journalism at age 15 making photocopied zines, and has since earned awards from the Edward R. Murrow Awards, the Society for Professional Journalists, the Online Journalism Awards, the Association of Alternative Newsweeklies and the California Newspaper Publishers Association. Prior to KQED, he was the editor of the \u003cem>North Bay Bohemian\u003c/em> and a touring musician. He lives with his wife and daughter in his hometown of Santa Rosa, CA.",
"avatar": "https://secure.gravatar.com/avatar/5bebe57be0d8bc2dd318934feb47299e2d2d10cba28d09d8d7afb389a2ce2bdd?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "",
"roles": [
"editor"
]
},
{
"site": "arts",
"roles": [
"administrator"
]
},
{
"site": "artschool",
"roles": [
"editor"
]
},
{
"site": "news",
"roles": [
"author"
]
},
{
"site": "pop",
"roles": [
"editor"
]
},
{
"site": "bayareabites",
"roles": [
"editor"
]
},
{
"site": "food",
"roles": [
"editor"
]
},
{
"site": "liveblog",
"roles": [
"editor"
]
},
{
"site": "hiphop",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Gabe Meline | KQED",
"description": "Senior Editor, KQED Arts & Culture",
"ogImgSrc": "https://secure.gravatar.com/avatar/5bebe57be0d8bc2dd318934feb47299e2d2d10cba28d09d8d7afb389a2ce2bdd?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/5bebe57be0d8bc2dd318934feb47299e2d2d10cba28d09d8d7afb389a2ce2bdd?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/gmeline"
},
"aproehl": {
"type": "authors",
"id": "11296",
"meta": {
"index": "authors_1716337520",
"id": "11296",
"found": true
},
"name": "Ariana Proehl",
"firstName": "Ariana",
"lastName": "Proehl",
"slug": "aproehl",
"email": "aproehl@KQED.org",
"display_author_email": true,
"staff_mastheads": [
"news"
],
"title": "Culture Reporter, KQED",
"bio": "Ariana Proehl is a Culture Reporter and Host.",
"avatar": "https://secure.gravatar.com/avatar/c96b24567eb5bb3a4f8bb295ed53e232?s=600&d=blank&r=g",
"twitter": "ArianaProehl",
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": []
},
{
"site": "news",
"roles": []
},
{
"site": "education",
"roles": []
},
{
"site": "forum",
"roles": []
}
],
"headData": {
"title": "Ariana Proehl | KQED",
"description": "Culture Reporter, KQED",
"ogImgSrc": "https://secure.gravatar.com/avatar/c96b24567eb5bb3a4f8bb295ed53e232?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/c96b24567eb5bb3a4f8bb295ed53e232?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/aproehl"
},
"nvoynovskaya": {
"type": "authors",
"id": "11387",
"meta": {
"index": "authors_1716337520",
"id": "11387",
"found": true
},
"name": "Nastia Voynovskaya",
"firstName": "Nastia",
"lastName": "Voynovskaya",
"slug": "nvoynovskaya",
"email": "nvoynovskaya@kqed.org",
"display_author_email": false,
"staff_mastheads": [
"arts"
],
"title": "Editor and reporter",
"bio": "Nastia Voynovskaya is a reporter and editor at KQED Arts & Culture. She's been covering the arts in the Bay Area for over a decade, with a focus on music, queer culture, labor issues and grassroots organizing. She has edited KQED story series such as Trans Bay: A History of San Francisco's Gender-Diverse Community, and co-created KQED's Bay Area hip-hop history project, That's My Word. Nastia's work has been recognized by the Society of Professional Journalists and San Francisco Press Club. She holds a BA in comparative literature from UC Berkeley.",
"avatar": "https://secure.gravatar.com/avatar/5025ee460e5a85d69ca20ea6c6f2f80d7e17795c828f61ea3aecfcd924e9042e?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": "https://www.instagram.com/nananastia/",
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"administrator"
]
},
{
"site": "news",
"roles": [
"editor"
]
},
{
"site": "pop",
"roles": [
"administrator"
]
},
{
"site": "bayareabites",
"roles": [
"editor"
]
},
{
"site": "podcasts",
"roles": [
"editor"
]
},
{
"site": "hiphop",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Nastia Voynovskaya | KQED",
"description": "Editor and reporter",
"ogImgSrc": "https://secure.gravatar.com/avatar/5025ee460e5a85d69ca20ea6c6f2f80d7e17795c828f61ea3aecfcd924e9042e?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/5025ee460e5a85d69ca20ea6c6f2f80d7e17795c828f61ea3aecfcd924e9042e?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/nvoynovskaya"
},
"ogpenn": {
"type": "authors",
"id": "11491",
"meta": {
"index": "authors_1716337520",
"id": "11491",
"found": true
},
"name": "Pendarvis Harshaw",
"firstName": "Pendarvis",
"lastName": "Harshaw",
"slug": "ogpenn",
"email": "ogpenn@gmail.com",
"display_author_email": false,
"staff_mastheads": [
"arts"
],
"title": "Community Engagement Reporter",
"bio": "Pendarvis Harshaw is an educator, host and writer with KQED Arts.",
"avatar": "https://secure.gravatar.com/avatar/972b77ee8e3f346ae2b00622661187fbfabd059b5693bbdc1475ea7a722fd4cd?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": "ogpenn",
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"administrator"
]
},
{
"site": "news",
"roles": [
"editor"
]
},
{
"site": "bayareabites",
"roles": [
"author"
]
},
{
"site": "hiphop",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Pendarvis Harshaw | KQED",
"description": "Community Engagement Reporter",
"ogImgSrc": "https://secure.gravatar.com/avatar/972b77ee8e3f346ae2b00622661187fbfabd059b5693bbdc1475ea7a722fd4cd?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/972b77ee8e3f346ae2b00622661187fbfabd059b5693bbdc1475ea7a722fd4cd?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/ogpenn"
},
"ngluckstern": {
"type": "authors",
"id": "11497",
"meta": {
"index": "authors_1716337520",
"id": "11497",
"found": true
},
"name": "Nicole Gluckstern",
"firstName": "Nicole",
"lastName": "Gluckstern",
"slug": "ngluckstern",
"email": "gluckstern.nicole@gmail.com",
"display_author_email": false,
"staff_mastheads": [],
"title": null,
"bio": null,
"avatar": "https://secure.gravatar.com/avatar/4fa7e0128404fc3d06ce5f9e27ab9e5a?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"author"
]
}
],
"headData": {
"title": "Nicole Gluckstern | KQED",
"description": null,
"ogImgSrc": "https://secure.gravatar.com/avatar/4fa7e0128404fc3d06ce5f9e27ab9e5a?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/4fa7e0128404fc3d06ce5f9e27ab9e5a?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/ngluckstern"
},
"mmedina": {
"type": "authors",
"id": "11528",
"meta": {
"index": "authors_1716337520",
"id": "11528",
"found": true
},
"name": "Marisol Medina-Cadena",
"firstName": "Marisol",
"lastName": "Medina-Cadena",
"slug": "mmedina",
"email": "mmedina@KQED.org",
"display_author_email": true,
"staff_mastheads": [],
"title": "Producer, Rightnowish Podcast",
"bio": "Marisol Medina-Cadena is a radio reporter and podcast producer. Before working at KQED, she produced for PBS member station, KCET, in Los Angeles. In 2017, Marisol won an Emmy Award for her work on the televised documentary, \u003cem>City Rising\u003c/em>, examining California's affordable housing crisis and the historical roots of gentrification.",
"avatar": "https://secure.gravatar.com/avatar/6c3db46a1cabb5e1fe9a365b5f4e681e?s=600&d=blank&r=g",
"twitter": "marisolreports",
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": []
},
{
"site": "news",
"roles": [
"edit_others_posts"
]
}
],
"headData": {
"title": "Marisol Medina-Cadena | KQED",
"description": "Producer, Rightnowish Podcast",
"ogImgSrc": "https://secure.gravatar.com/avatar/6c3db46a1cabb5e1fe9a365b5f4e681e?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/6c3db46a1cabb5e1fe9a365b5f4e681e?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/mmedina"
},
"ltsai": {
"type": "authors",
"id": "11743",
"meta": {
"index": "authors_1716337520",
"id": "11743",
"found": true
},
"name": "Luke Tsai",
"firstName": "Luke",
"lastName": "Tsai",
"slug": "ltsai",
"email": "ltsai@kqed.org",
"display_author_email": true,
"staff_mastheads": [
"arts"
],
"title": "Food Editor",
"bio": "Luke Tsai is KQED's food editor and resident stinky tofu connoisseur. Prior to KQED, he was an editor at Eater SF, \u003cem>San Francisco \u003c/em>magazine, and the \u003cem>East Bay Express\u003c/em>, and his work has also appeared in TASTE, the \u003cem>San Francisco Chronicle\u003c/em>, and the \u003cem>Best Food Writing\u003c/em> anthology. When he isn't writing or editing, you'll find him eating most everything he can get his hands on.",
"avatar": "https://secure.gravatar.com/avatar/1e59b45bf191526e7339d6ba46e33a57b2030d25c27660ecc64ea3cb863e34f7?s=600&d=blank&r=g",
"twitter": "theluketsai",
"bluesky": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "",
"roles": [
"editor"
]
},
{
"site": "arts",
"roles": [
"administrator"
]
},
{
"site": "news",
"roles": [
"editor",
"contributor"
]
},
{
"site": "bayareabites",
"roles": [
"editor"
]
},
{
"site": "food",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Luke Tsai | KQED",
"description": "Food Editor",
"ogImgSrc": "https://secure.gravatar.com/avatar/1e59b45bf191526e7339d6ba46e33a57b2030d25c27660ecc64ea3cb863e34f7?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/1e59b45bf191526e7339d6ba46e33a57b2030d25c27660ecc64ea3cb863e34f7?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/ltsai"
},
"achazaro": {
"type": "authors",
"id": "11748",
"meta": {
"index": "authors_1716337520",
"id": "11748",
"found": true
},
"name": "Alan Chazaro",
"firstName": "Alan",
"lastName": "Chazaro",
"slug": "achazaro",
"email": "agchazaro@gmail.com",
"display_author_email": true,
"staff_mastheads": [],
"title": "Food Writer and Reporter",
"bio": "Alan Chazaro is the author of \u003cem>This Is Not a Frank Ocean Cover Album\u003c/em> (Black Lawrence Press, 2019), \u003cem>Piñata Theory\u003c/em> (Black Lawrence Press, 2020), and \u003cem>Notes from the Eastern Span of the Bay Bridge\u003c/em> (Ghost City Press, 2021). He is a graduate of June Jordan’s Poetry for the People program at UC Berkeley and a former Lawrence Ferlinghetti Fellow at the University of San Francisco. He writes about sports, food, art, music, education, and culture while repping the Bay on \u003ca href=\"https://twitter.com/alan_chazaro\">Twitter\u003c/a> and \u003ca href=\"https://www.instagram.com/alan_chazaro/?hl=en\">Instagram\u003c/a> at @alan_chazaro.",
"avatar": "https://secure.gravatar.com/avatar/ea8b6dd970fc5c29e7a188e7d5861df7?s=600&d=blank&r=g",
"twitter": "alan_chazaro",
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"contributor"
]
},
{
"site": "news",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Alan Chazaro | KQED",
"description": "Food Writer and Reporter",
"ogImgSrc": "https://secure.gravatar.com/avatar/ea8b6dd970fc5c29e7a188e7d5861df7?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/ea8b6dd970fc5c29e7a188e7d5861df7?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/achazaro"
}
},
"pagesReducer": {
"arts_tag_berkeley": {
"type": "terms",
"id": "arts_1270",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1270",
"score": 6.9249187
},
"featImg": null,
"name": "Berkeley",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Berkeley Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1282,
"slug": "berkeley",
"isLoading": false,
"title": "Berkeley",
"pageMeta": {
"site": "arts",
"WpPageTemplate": "page-topic-editorial",
"currentPage": 10
},
"blocks": [
{
"blockName": "kqed/post-list",
"attrs": {
"layout": "cardArticle2",
"query": "posts/arts?tag=berkeley",
"seeMore": false,
"paginated": true,
"page": 10
}
},
{
"blockName": "kqed/ad"
}
]
}
},
"pfsSessionReducer": {},
"postsReducer": {
"stream_live": {
"type": "live",
"id": "stream_live",
"audioUrl": "https://streams.kqed.org/kqedradio",
"title": "Live Stream",
"excerpt": "Live Stream information currently unavailable.",
"link": "/radio",
"featImg": "",
"label": {
"name": "KQED Live",
"link": "/"
}
},
"stream_kqedNewscast": {
"type": "posts",
"id": "stream_kqedNewscast",
"audioUrl": "https://www.kqed.org/.stream/anon/radio/RDnews/newscast.mp3?_=1",
"title": "KQED Newscast",
"featImg": "",
"label": {
"name": "88.5 FM",
"link": "/"
}
},
"arts_13923978": {
"type": "posts",
"id": "arts_13923978",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13923978",
"score": null,
"sort": [
1675281500000
]
},
"guestAuthors": [],
"slug": "davey-d-hip-hop-1984",
"title": "A Trip With Davey D Back to 1984, When Hip-Hop Was Still Undefined",
"publishDate": 1675281500,
"format": "audio",
"headTitle": "A Trip With Davey D Back to 1984, When Hip-Hop Was Still Undefined | KQED",
"labelTerm": {},
"content": "\u003cp>\u003cb>\u003ci>Editor’s note:\u003c/i>\u003c/b>\u003ci> This story is part of\u003c/i>\u003ca href=\"http://kqed.org/bayareahiphop\"> That’s My Word\u003c/a>\u003ci>, KQED’s year-long exploration of Bay Area hip-hop history, with new content dropping all throughout 2023.\u003c/i>\u003c/p>\n\u003cp>\u003ca href=\"https://www.daveyd.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Dave “Davey D” Cook\u003c/a> is a cornerstone of hip-hop culture.\u003c/p>\n\u003cp>He currently co-hosts KPFA’s \u003ci>Hard Knock Radio\u003c/i> and serves as a professor of Africana studies at San Francisco State University, where he teaches popular courses on hip-hop and African American music. Working with historian Jeff Chang, Davey recently co-published the book \u003ci>Can’t Stop Won’t Stop: A History of the Hip-Hop Generation\u003c/i> (2021). (Both Davey and Jeff are advisors for KQED’s \u003ci>That’s My Word\u003c/i>.)\u003c/p>\n\u003cp>Davey D is a practitioner of the culture as well as a critic. Over the span of five decades, he’s been an MC, DJ, journalist, activist — the list goes on. He was at the heart of the \u003ca href=\"http://www.daveyd.com/articleradiosucks.html\" target=\"_blank\" rel=\"noopener noreferrer\">fight against a corporate media takeover\u003c/a> of a San Francisco hip-hop radio station. He \u003ca href=\"https://hiphopandpolitics.wordpress.com/tag/oscar-grant/\" target=\"_blank\" rel=\"noopener noreferrer\">amplified the call for justice\u003c/a> in Oakland after Oscar Grant was killed by BART police officer Johannes Mehserle. And during a financial literacy conference in New York, Davey D conducted one of the first major interviews with the \u003ca href=\"https://youtu.be/GwG4A_OrTmk\" target=\"_blank\" rel=\"noopener noreferrer\">late, legendary Los Angeles lyricist Nipsey Hussle\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13923991\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13923991\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/Screenshot-2022-12-05-at-11.21.56-AM-800x627.png\" alt=\"\" width=\"800\" height=\"627\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screenshot-2022-12-05-at-11.21.56-AM-800x627.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screenshot-2022-12-05-at-11.21.56-AM-1020x800.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screenshot-2022-12-05-at-11.21.56-AM-160x125.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screenshot-2022-12-05-at-11.21.56-AM-768x602.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screenshot-2022-12-05-at-11.21.56-AM-1536x1205.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screenshot-2022-12-05-at-11.21.56-AM-2048x1606.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screenshot-2022-12-05-at-11.21.56-AM-1920x1506.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dave ‘Davey D’ Cook on stage with Dominique DiPrima at the Macy’s passport event in Oakland circa 1993. \u003ccite>(Courtesy of Davey D)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Originally from The Bronx, New York, Davey D was there when this thing we call hip-hop was in its nascent form, before it even had a name. When he arrived in the Bay Area in the early ’80s, one of his missions as a UC Berkeley student was to lend some insight to this burgeoning culture. So he put on a few events, one of which was The Day in Hip-Hop on Oct. 24, 1984.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Footage of The Day in Hip-hop shows dancers, rappers and DJs performing in front of a captive audience, as they get a crash course on what would eventually become the most popular music in the world. The films are housed in UC Berkeley’s archives. Fortunately, a few clips have been uploaded to YouTube by Jim Richards. With the 50th anniversary of hip-hop at the front of mind, I spoke to Davey D about what the culture was like back then and how far it has come.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC6878706120&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Below are lightly edited excerpts from my conversation with Davey D.\u003c/strong>\u003c/p>\n\u003cp>https://youtu.be/L_71XuDWzeE\u003c/p>\n\u003cp>\u003cb>PENDARVIS HARSHAW:\u003c/b> The objective of this interview is to talk about a video specifically from \u003ca href=\"https://www.youtube.com/watch?v=fOH_YgzQS7M\" target=\"_blank\" rel=\"noopener noreferrer\">1984 at UC Berkeley on Sproul Plaza\u003c/a> with you DJing. I saw the fresh cut, and you had your name on your shirt. It’s an early iteration of what hip-hop looks like in the Bay Area. It’s just a moving piece of footage. Can we talk through it while we watch it real quick?\u003c/p>\n\u003cp>\u003cb>DAVEY D:\u003c/b> So you got [the MCs] Commander C and Diamond D from Berkeley and Richmond. They were The Dazzling Two. And that graffiti that you see, that’s me.\u003c/p>\n\u003cp>\u003cb>You did the graffiti too?\u003c/b>\u003c/p>\n\u003cp>Yeah, I did the writing. I was never a graff artist, but I did do that. We were trying to do a showcase, and bring to the campus and celebrate this thing that was burgeoning. So what you see in the video is me, with a cut-off sweatshirt that has my name on it. You also see a guy named Patrick Norwood who is out of L.A. and was a good DJ. We had a crew called the New York/L.A. Connection because they were from L.A., and I was from New York. And we bought out some dancers. We brought out these artists. And it had to be several hundred people there watching as we did this thing. And it was just a day to remember, it was exciting. [pullquote align='right' size='medium' citation='Davey D']‘Hip-hop will [always] be a continuation of Black expression, it ain’t going nowhere.’[/pullquote]\u003c/p>\n\u003cp>When you look at it now, it’s kind of basic what we were doing. My scratches weren’t all that and the raps weren’t all that. But you know what? They were entertaining and could hold their own. I passed out a leaflet that explained what hip-hop was. They were on pink pieces of paper. And I think UC Berkeley filmed this as well, and they have it in their archives. We did another one several months later, and that one you actually have me rapping with a number of people. And we did an anti-apartheid song called “South Africa It’s Just a Matter of Time.”\u003c/p>\n\u003cp>Back in the day, I started out as an MC. I became a DJ when I moved out here. People just weren’t MCing like that when I first came out here. So I had more of an opportunity to do what I liked by DJing, versus getting on the mic and doing what the Dazzling Two were doing. I wonder whatever happened to them.\u003c/p>\n\u003cp>https://youtu.be/fOH_YgzQS7M\u003c/p>\n\u003cp>\u003cb>I’m watching the video, and the audience is kind of stunned. Sitting there, jaw dropped.\u003c/b>\u003c/p>\n\u003cp>They were watching because they hadn’t seen it. This was before the Fresh Fest [in December 1984, the first national hip-hop tour with Run D.M.C., Whodini and more]. So you didn’t really have performances like this. This was a treat for a lot of people. They might have seen something on a TV show, [or] \u003ci>Beat Street\u003c/i> the movie or something, but they hadn’t seen this up close and live. That’s why we wound up doing a second one. People were like, “Man, you all got to do that again.”\u003c/p>\n\u003cp>\u003cb>If we’re saying that the start of hip-hop was ’73, then 10 years later you have people rapping in French. And you have this spread to the West Coast.\u003c/b>\u003c/p>\n\u003cp>Well, that’s one way to look at it. Or the other way is to understand that Indigenous folks, and in this case when I say “Indigenous” I’m saying people that come from Black communities — you know, “the hood,” so to speak — we always had these expressions. And so hip-hop had two types of responses. If you talk to Commander C and Diamond from the Dazzling Two, and you tell them about rap, them being from [the East Bay], their response wouldn’t have been, “Oh wow, this is great. How do you do it?” Their response would have been more like, “Oh man, that sounds like something my uncle used to do.” Because there would be a reference point. “Oh man, it sounds like some hambone. That sounds like some pimp talk,” right? They’ve already seen people rhyming. They saw a \u003ci>Dolemite\u003c/i> movie. They had an uncle that would talk slick like that.\u003c/p>\n\u003cp>How [hip-hop] was packaged may have been new. Like, “Oh, I never thought to do it over beats like that.” But the concept wasn’t new. Then you have other people who’ve never seen anything like this. And their reference point then becomes, “What did I see on TV?” And if you’re telling me this is a New York thing, then I want to soak up everything that came out of New York. Whereas, I think a Richmond and Oakland cat was like, “This is good. I’m going to integrate this New York style with things that I’ve already done.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/playlist/5Qh4JQ3yYUFhaC8t49NZnx?utm_source=generator\" width=\"100%\" height=\"352\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>So if you listen to those guys, to their credit, they didn’t try to sound like they were from New York. They still sound like some cat from Richmond in ’83, ’84. And I think that’s a testament to the Bay. [It] has its own identity… They didn’t feel like [they] needed to follow a prescribed path.\u003c/p>\n\u003cp>You have to understand that there’s no YouTube at the time. Most people never saw a video like this until years later. This wasn’t on Channel Two or ABC or anything like that. This was something that [you] had to be there [for]. So for a lot of folks, they hadn’t seen this whole package until that day… And that’s what made it special. And I think if you were there, what I recall was the energy. There was a vibe. And it was almost euphoric, especially once the dancers got on.\u003c/p>\n\u003cp>https://youtu.be/JrbBU_Mfi1s\u003c/p>\n\u003cp>\u003cb>The dancers turned it out. There’s a scene where the dancers line up. You think it’s about to start, and then they drop their pants and they have pants under their pants. And you see their uniforms, and it’s like, ‘Oh, it’s about to go down.’\u003c/b>\u003c/p>\n\u003cp>But you also got to remember, in the Bay dance expression has been around for a long time too. They’re doing breaking, right? But there was a Bay style of dance that is — big shout out to The Black Resurgents and The Messengers, and all those groups. The Black Resurgents just celebrated their 50th anniversary. They were doing the boogaloo, and they were strutting, and they were roboting. [aside postid='arts_13891300']\u003c/p>\n\u003cp>So these guys [on campus] were breaking, they weren’t doing Bay traditional dances, and we can get into why that was the case: Because [some of] those guys who came out of that dance era that actually predates hip-hop in New York had aged out. They were older, doing other things. And the fascination of hip-hop out of New York was really through the visuals of dance.\u003c/p>\n\u003cp>\u003cb>I should acknowledge the fact that the elements that are hip-hop were present even before 1973 in the Bay Area, right?\u003c/b>\u003c/p>\n\u003cp>We’ve always danced. Percussion has always been our thing, right? Black people are the people of the drum. Native folks are people of the drum, so the drum is not foreign. And rhyming has been around for a very long time. Having all those elements put together in a package like that had not happened. So again, It’s not “either or,” it’s “both and.”\u003c/p>\n\u003cp>https://youtu.be/ALLGyes9MhA\u003c/p>\n\u003cp>\u003cb>One of the big things that jumped out at me about the video is that it’s at Sproul Plaza, and this is the home of the Free Speech Movement and anti-Vietnam War protests. Having this event at that same hallowed ground, does that bring some type of legitimacy? Legitimacy is a loaded word, but does it bring some weight to it?\u003c/b>\u003c/p>\n\u003cp>I don’t think people were thinking of it at that time. I certainly wasn’t. The reason we did it at Sproul Plaza was because that’s where all the Black folks hung out, the fraternities: the Alphas, who were probably the biggest one. And the Kappas, when they did their step shows, they did it on Sproul Plaza, right? Sproul Plaza is right there at the entry of the campus, so if you want to get maximum people, you’re going to do it on Sproul Plaza. The second one we did down in Zellerbach, but it wasn’t like, “Aw man, the Free Speech Movement happened here, let’s do it on Sproul Plaza.”\u003c/p>\n\u003cfigure id=\"attachment_13923986\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13923986\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/Screenshot-2022-12-05-at-11.16.13-AM-800x987.png\" alt='Davey D explains this new thing called \"hip-hop\" in this one-sheeter from 1984.' width=\"800\" height=\"987\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screenshot-2022-12-05-at-11.16.13-AM-800x987.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screenshot-2022-12-05-at-11.16.13-AM-1020x1258.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screenshot-2022-12-05-at-11.16.13-AM-160x197.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screenshot-2022-12-05-at-11.16.13-AM-768x947.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screenshot-2022-12-05-at-11.16.13-AM.png 1218w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Davey D explains this new thing called “hip-hop” in this one-sheeter from 1984. \u003ccite>(Via Dave \"Davey D\" Cook)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>And you said you passed out a flyer there.\u003c/b>\u003c/p>\n\u003cp>Not a flyer, but a piece of — it was an article that I wrote explaining what hip-hop was.\u003c/p>\n\u003cp>\u003cb>A one-sheeter, right?\u003c/b>\u003c/p>\n\u003cp>A one-sheeter, yeah.\u003c/p>\n\u003cp>\u003cb>Why would you need to pass on a one-sheeter explaining hip-hop?\u003c/b>\u003c/p>\n\u003cp>Because people didn’t know at that time, and you wanted to make sure they had it. What are you watching? Why are you watching this? So, again, for many people that was the first time they saw something live like that. We take it for granted now, but in 1984, you didn’t see that like that. There wasn’t no [hip-hop] block parties here. So this was the first time for a lot of people. And we wanted to make sure that they had an understanding.\u003c/p>\n\u003cp>My mom was mad because she said, “You didn’t put your name on it.” She’s like, “Put your name on it so people know that you wrote this, I don’t want nobody taking your stuff.” And I was like, “Nah, ma, they seen me pass it out.” But it became important because a lot of people did use that article. It showed up in the \u003ci>San Francisco Chronicle\u003c/i>. There were people that quoted from it and didn’t know where it came from. I seen it on websites years later, right? But, you know, it’s actually \u003ca href=\"https://www.daveyd.com/whatishipdav.html\" target=\"_blank\" rel=\"noopener noreferrer\">on my site now\u003c/a>. I was asked to write it for a magazine, so I rewrote that and added to it.\u003c/p>\n\u003cp>\u003cb>In the early days, how did hip-hop culture spread to the Bay Area?\u003c/b>\u003c/p>\n\u003cp>It spread the same way that it does everywhere else where Black folks are. First, we have to ask the question: What parts of hip-hop? So you have to get a graff writer in here to break down how they were passing along secrets and understandings and cultural aesthetics. You know, somebody like \u003ca href=\"http://www.refa1.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Refa One\u003c/a>.\u003c/p>\n\u003cp>I think us as DJs, there’s a whole path that we took, right? … So I’ll give you an example: There was a guy named Quickie Kev who was on the campus, and I was the main DJ, but Quickie Kev came out of L.A. and he knew how to scratch. His scratch was picked up from [the radio station] KDAY. And at that time, they had a bunch of DJs on there. Tony G. Joe Cooley, right? So there was an “L.A. Fast Scratch,” that’s what we called it. And he picked that up, and he was vicious on it. So whenever he did a party, people were sitting around like, “Man, how do we do that?” So that became one way some of that trickery was passed along. Much of it was seeing somebody who had a skillset, and they would pick it up.\u003c/p>\n\u003cp>https://youtu.be/7bYXW4x7RXk\u003c/p>\n\u003cp>\u003cb>Was there a point in the late ’80s, early ’90s where you could pinpoint and say hip-hop had irreversibly established itself?\u003c/b>\u003c/p>\n\u003cp>When \u003ci>Beat Street\u003c/i> came out, I think there was no turning back. Shout out to Harry Belafonte and all those people who put it together. I know we had \u003ci>Krush Groove\u003c/i>, and \u003ci>Wild Style\u003c/i> had come out prior to that. But I think \u003ci>Beat Street\u003c/i> because it was such a mainstream thing, it was the one that was for people who grew up with that in New York — this was a validation. I think there was no turning back at that point.\u003c/p>\n\u003cp>I remember, I was at a place called the Promenade, which is next to Marble Hill Projects in the Bronx. And my crew was doing a party. And I remember sitting there like, “Wow, look at all these people here.” And I said, “I wonder if people around the world know what we’re doing.” This is incredible. It just hit me. And within two years time, “\u003ca href=\"https://www.npr.org/2000/12/29/1116242/rappers-delight\" target=\"_blank\" rel=\"noopener noreferrer\">Rapper’s Delight\u003c/a>” came out and that was irreversible there.\u003c/p>\n\u003cp>\u003cb>So, one more question on my end: 50 years from now, hip-hop is…?\u003c/b>\u003c/p>\n\u003cp>Hip-hop will be a continuation of Black expression, it ain’t going nowhere. We’re gonna stop singing and vocalizing ourselves? No. We gonna stop dancing? No. Are we going to have different rhythms? Absolutely. You can have a crunk beat, boom-bap beat, hyphy beat, underground lo-fi beat, jazzy beat, right? You can have those 808 beats, Miami bass beat. There’s like 50 different beats that you can find within hip-hop. There will be new beats 50 years from now. It might not be called hip-hop, but it’s still going to be here.\u003c/p>\n\u003cp>It will never leave because hip-hop at its core is the expression of people who want to build community with one another. Who want to lose themselves in other ways, to express themselves and not be limited to what society says is valid expression.\u003c/p>\n\u003cp>The key for us is, can we connect the past with the present? And can we connect the past and present to the future? That’s our job. So we’re here to open your mind, and as Black Moon would say, “get you open.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-11687704\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/06/Turntable.Break_-800x60.jpg\" alt=\"\" width=\"800\" height=\"60\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-400x30.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-768x58.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
"blocks": [],
"excerpt": "The veteran radio host reflects on his 1984 hip-hop event at UC Berkeley, and how far the culture has come.",
"status": "publish",
"parent": 0,
"modified": 1726791237,
"stats": {
"hasAudio": true,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 49,
"wordCount": 2933
},
"headData": {
"title": "A Trip With Davey D Back to 1984, When Hip-Hop Was Still Undefined | KQED",
"description": "The veteran radio host reflects on his 1984 hip-hop event at UC Berkeley, and how far the culture has come.",
"ogTitle": "A Trip With Davey D Back to 1984, When Hip-Hop Was Still Undefined",
"ogDescription": "The veteran radio host reflects on his 1984 hip-hop event at UC Berkeley, and how far the culture has come.",
"ogImgId": "arts_13924541",
"twTitle": "A Trip With Davey D Back to 1984, When Hip-Hop Was Still Undefined",
"twDescription": "The veteran radio host reflects on his 1984 hip-hop event at UC Berkeley, and how far the culture has come.",
"twImgId": "arts_13924541",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "A Trip With Davey D Back to 1984, When Hip-Hop Was Still Undefined",
"datePublished": "2023-02-01T11:58:20-08:00",
"dateModified": "2024-09-19T17:13:57-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"source": "That's My Word",
"sourceUrl": "http://kqed.org/bayareahiphop",
"audioUrl": "https://www.podtrac.com/pts/redirect.mp3/chrt.fm/track/A511B8/traffic.megaphone.fm/KQINC6878706120.mp3?updated=1675382517",
"sticky": false,
"templateType": "standard",
"featuredImageType": "standard",
"subhead": "A 1984 video from UC Berkeley gives a glimpse into West Coast hip-hop's nascent form. ",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/13923978/davey-d-hip-hop-1984",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cb>\u003ci>Editor’s note:\u003c/i>\u003c/b>\u003ci> This story is part of\u003c/i>\u003ca href=\"http://kqed.org/bayareahiphop\"> That’s My Word\u003c/a>\u003ci>, KQED’s year-long exploration of Bay Area hip-hop history, with new content dropping all throughout 2023.\u003c/i>\u003c/p>\n\u003cp>\u003ca href=\"https://www.daveyd.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Dave “Davey D” Cook\u003c/a> is a cornerstone of hip-hop culture.\u003c/p>\n\u003cp>He currently co-hosts KPFA’s \u003ci>Hard Knock Radio\u003c/i> and serves as a professor of Africana studies at San Francisco State University, where he teaches popular courses on hip-hop and African American music. Working with historian Jeff Chang, Davey recently co-published the book \u003ci>Can’t Stop Won’t Stop: A History of the Hip-Hop Generation\u003c/i> (2021). (Both Davey and Jeff are advisors for KQED’s \u003ci>That’s My Word\u003c/i>.)\u003c/p>\n\u003cp>Davey D is a practitioner of the culture as well as a critic. Over the span of five decades, he’s been an MC, DJ, journalist, activist — the list goes on. He was at the heart of the \u003ca href=\"http://www.daveyd.com/articleradiosucks.html\" target=\"_blank\" rel=\"noopener noreferrer\">fight against a corporate media takeover\u003c/a> of a San Francisco hip-hop radio station. He \u003ca href=\"https://hiphopandpolitics.wordpress.com/tag/oscar-grant/\" target=\"_blank\" rel=\"noopener noreferrer\">amplified the call for justice\u003c/a> in Oakland after Oscar Grant was killed by BART police officer Johannes Mehserle. And during a financial literacy conference in New York, Davey D conducted one of the first major interviews with the \u003ca href=\"https://youtu.be/GwG4A_OrTmk\" target=\"_blank\" rel=\"noopener noreferrer\">late, legendary Los Angeles lyricist Nipsey Hussle\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13923991\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13923991\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/Screenshot-2022-12-05-at-11.21.56-AM-800x627.png\" alt=\"\" width=\"800\" height=\"627\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screenshot-2022-12-05-at-11.21.56-AM-800x627.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screenshot-2022-12-05-at-11.21.56-AM-1020x800.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screenshot-2022-12-05-at-11.21.56-AM-160x125.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screenshot-2022-12-05-at-11.21.56-AM-768x602.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screenshot-2022-12-05-at-11.21.56-AM-1536x1205.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screenshot-2022-12-05-at-11.21.56-AM-2048x1606.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screenshot-2022-12-05-at-11.21.56-AM-1920x1506.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dave ‘Davey D’ Cook on stage with Dominique DiPrima at the Macy’s passport event in Oakland circa 1993. \u003ccite>(Courtesy of Davey D)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Originally from The Bronx, New York, Davey D was there when this thing we call hip-hop was in its nascent form, before it even had a name. When he arrived in the Bay Area in the early ’80s, one of his missions as a UC Berkeley student was to lend some insight to this burgeoning culture. So he put on a few events, one of which was The Day in Hip-Hop on Oct. 24, 1984.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Footage of The Day in Hip-hop shows dancers, rappers and DJs performing in front of a captive audience, as they get a crash course on what would eventually become the most popular music in the world. The films are housed in UC Berkeley’s archives. Fortunately, a few clips have been uploaded to YouTube by Jim Richards. With the 50th anniversary of hip-hop at the front of mind, I spoke to Davey D about what the culture was like back then and how far it has come.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC6878706120&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Below are lightly edited excerpts from my conversation with Davey D.\u003c/strong>\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/L_71XuDWzeE'\n title='//www.youtube.com/embed/L_71XuDWzeE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cb>PENDARVIS HARSHAW:\u003c/b> The objective of this interview is to talk about a video specifically from \u003ca href=\"https://www.youtube.com/watch?v=fOH_YgzQS7M\" target=\"_blank\" rel=\"noopener noreferrer\">1984 at UC Berkeley on Sproul Plaza\u003c/a> with you DJing. I saw the fresh cut, and you had your name on your shirt. It’s an early iteration of what hip-hop looks like in the Bay Area. It’s just a moving piece of footage. Can we talk through it while we watch it real quick?\u003c/p>\n\u003cp>\u003cb>DAVEY D:\u003c/b> So you got [the MCs] Commander C and Diamond D from Berkeley and Richmond. They were The Dazzling Two. And that graffiti that you see, that’s me.\u003c/p>\n\u003cp>\u003cb>You did the graffiti too?\u003c/b>\u003c/p>\n\u003cp>Yeah, I did the writing. I was never a graff artist, but I did do that. We were trying to do a showcase, and bring to the campus and celebrate this thing that was burgeoning. So what you see in the video is me, with a cut-off sweatshirt that has my name on it. You also see a guy named Patrick Norwood who is out of L.A. and was a good DJ. We had a crew called the New York/L.A. Connection because they were from L.A., and I was from New York. And we bought out some dancers. We brought out these artists. And it had to be several hundred people there watching as we did this thing. And it was just a day to remember, it was exciting. \u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "‘Hip-hop will [always] be a continuation of Black expression, it ain’t going nowhere.’",
"name": "pullquote",
"attributes": {
"named": {
"align": "right",
"size": "medium",
"citation": "Davey D",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When you look at it now, it’s kind of basic what we were doing. My scratches weren’t all that and the raps weren’t all that. But you know what? They were entertaining and could hold their own. I passed out a leaflet that explained what hip-hop was. They were on pink pieces of paper. And I think UC Berkeley filmed this as well, and they have it in their archives. We did another one several months later, and that one you actually have me rapping with a number of people. And we did an anti-apartheid song called “South Africa It’s Just a Matter of Time.”\u003c/p>\n\u003cp>Back in the day, I started out as an MC. I became a DJ when I moved out here. People just weren’t MCing like that when I first came out here. So I had more of an opportunity to do what I liked by DJing, versus getting on the mic and doing what the Dazzling Two were doing. I wonder whatever happened to them.\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/fOH_YgzQS7M'\n title='//www.youtube.com/embed/fOH_YgzQS7M'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cb>I’m watching the video, and the audience is kind of stunned. Sitting there, jaw dropped.\u003c/b>\u003c/p>\n\u003cp>They were watching because they hadn’t seen it. This was before the Fresh Fest [in December 1984, the first national hip-hop tour with Run D.M.C., Whodini and more]. So you didn’t really have performances like this. This was a treat for a lot of people. They might have seen something on a TV show, [or] \u003ci>Beat Street\u003c/i> the movie or something, but they hadn’t seen this up close and live. That’s why we wound up doing a second one. People were like, “Man, you all got to do that again.”\u003c/p>\n\u003cp>\u003cb>If we’re saying that the start of hip-hop was ’73, then 10 years later you have people rapping in French. And you have this spread to the West Coast.\u003c/b>\u003c/p>\n\u003cp>Well, that’s one way to look at it. Or the other way is to understand that Indigenous folks, and in this case when I say “Indigenous” I’m saying people that come from Black communities — you know, “the hood,” so to speak — we always had these expressions. And so hip-hop had two types of responses. If you talk to Commander C and Diamond from the Dazzling Two, and you tell them about rap, them being from [the East Bay], their response wouldn’t have been, “Oh wow, this is great. How do you do it?” Their response would have been more like, “Oh man, that sounds like something my uncle used to do.” Because there would be a reference point. “Oh man, it sounds like some hambone. That sounds like some pimp talk,” right? They’ve already seen people rhyming. They saw a \u003ci>Dolemite\u003c/i> movie. They had an uncle that would talk slick like that.\u003c/p>\n\u003cp>How [hip-hop] was packaged may have been new. Like, “Oh, I never thought to do it over beats like that.” But the concept wasn’t new. Then you have other people who’ve never seen anything like this. And their reference point then becomes, “What did I see on TV?” And if you’re telling me this is a New York thing, then I want to soak up everything that came out of New York. Whereas, I think a Richmond and Oakland cat was like, “This is good. I’m going to integrate this New York style with things that I’ve already done.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/playlist/5Qh4JQ3yYUFhaC8t49NZnx?utm_source=generator\" width=\"100%\" height=\"352\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>So if you listen to those guys, to their credit, they didn’t try to sound like they were from New York. They still sound like some cat from Richmond in ’83, ’84. And I think that’s a testament to the Bay. [It] has its own identity… They didn’t feel like [they] needed to follow a prescribed path.\u003c/p>\n\u003cp>You have to understand that there’s no YouTube at the time. Most people never saw a video like this until years later. This wasn’t on Channel Two or ABC or anything like that. This was something that [you] had to be there [for]. So for a lot of folks, they hadn’t seen this whole package until that day… And that’s what made it special. And I think if you were there, what I recall was the energy. There was a vibe. And it was almost euphoric, especially once the dancers got on.\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/JrbBU_Mfi1s'\n title='//www.youtube.com/embed/JrbBU_Mfi1s'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cb>The dancers turned it out. There’s a scene where the dancers line up. You think it’s about to start, and then they drop their pants and they have pants under their pants. And you see their uniforms, and it’s like, ‘Oh, it’s about to go down.’\u003c/b>\u003c/p>\n\u003cp>But you also got to remember, in the Bay dance expression has been around for a long time too. They’re doing breaking, right? But there was a Bay style of dance that is — big shout out to The Black Resurgents and The Messengers, and all those groups. The Black Resurgents just celebrated their 50th anniversary. They were doing the boogaloo, and they were strutting, and they were roboting. \u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13891300",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>So these guys [on campus] were breaking, they weren’t doing Bay traditional dances, and we can get into why that was the case: Because [some of] those guys who came out of that dance era that actually predates hip-hop in New York had aged out. They were older, doing other things. And the fascination of hip-hop out of New York was really through the visuals of dance.\u003c/p>\n\u003cp>\u003cb>I should acknowledge the fact that the elements that are hip-hop were present even before 1973 in the Bay Area, right?\u003c/b>\u003c/p>\n\u003cp>We’ve always danced. Percussion has always been our thing, right? Black people are the people of the drum. Native folks are people of the drum, so the drum is not foreign. And rhyming has been around for a very long time. Having all those elements put together in a package like that had not happened. So again, It’s not “either or,” it’s “both and.”\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/ALLGyes9MhA'\n title='//www.youtube.com/embed/ALLGyes9MhA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cb>One of the big things that jumped out at me about the video is that it’s at Sproul Plaza, and this is the home of the Free Speech Movement and anti-Vietnam War protests. Having this event at that same hallowed ground, does that bring some type of legitimacy? Legitimacy is a loaded word, but does it bring some weight to it?\u003c/b>\u003c/p>\n\u003cp>I don’t think people were thinking of it at that time. I certainly wasn’t. The reason we did it at Sproul Plaza was because that’s where all the Black folks hung out, the fraternities: the Alphas, who were probably the biggest one. And the Kappas, when they did their step shows, they did it on Sproul Plaza, right? Sproul Plaza is right there at the entry of the campus, so if you want to get maximum people, you’re going to do it on Sproul Plaza. The second one we did down in Zellerbach, but it wasn’t like, “Aw man, the Free Speech Movement happened here, let’s do it on Sproul Plaza.”\u003c/p>\n\u003cfigure id=\"attachment_13923986\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13923986\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/Screenshot-2022-12-05-at-11.16.13-AM-800x987.png\" alt='Davey D explains this new thing called \"hip-hop\" in this one-sheeter from 1984.' width=\"800\" height=\"987\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screenshot-2022-12-05-at-11.16.13-AM-800x987.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screenshot-2022-12-05-at-11.16.13-AM-1020x1258.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screenshot-2022-12-05-at-11.16.13-AM-160x197.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screenshot-2022-12-05-at-11.16.13-AM-768x947.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screenshot-2022-12-05-at-11.16.13-AM.png 1218w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Davey D explains this new thing called “hip-hop” in this one-sheeter from 1984. \u003ccite>(Via Dave \"Davey D\" Cook)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>And you said you passed out a flyer there.\u003c/b>\u003c/p>\n\u003cp>Not a flyer, but a piece of — it was an article that I wrote explaining what hip-hop was.\u003c/p>\n\u003cp>\u003cb>A one-sheeter, right?\u003c/b>\u003c/p>\n\u003cp>A one-sheeter, yeah.\u003c/p>\n\u003cp>\u003cb>Why would you need to pass on a one-sheeter explaining hip-hop?\u003c/b>\u003c/p>\n\u003cp>Because people didn’t know at that time, and you wanted to make sure they had it. What are you watching? Why are you watching this? So, again, for many people that was the first time they saw something live like that. We take it for granted now, but in 1984, you didn’t see that like that. There wasn’t no [hip-hop] block parties here. So this was the first time for a lot of people. And we wanted to make sure that they had an understanding.\u003c/p>\n\u003cp>My mom was mad because she said, “You didn’t put your name on it.” She’s like, “Put your name on it so people know that you wrote this, I don’t want nobody taking your stuff.” And I was like, “Nah, ma, they seen me pass it out.” But it became important because a lot of people did use that article. It showed up in the \u003ci>San Francisco Chronicle\u003c/i>. There were people that quoted from it and didn’t know where it came from. I seen it on websites years later, right? But, you know, it’s actually \u003ca href=\"https://www.daveyd.com/whatishipdav.html\" target=\"_blank\" rel=\"noopener noreferrer\">on my site now\u003c/a>. I was asked to write it for a magazine, so I rewrote that and added to it.\u003c/p>\n\u003cp>\u003cb>In the early days, how did hip-hop culture spread to the Bay Area?\u003c/b>\u003c/p>\n\u003cp>It spread the same way that it does everywhere else where Black folks are. First, we have to ask the question: What parts of hip-hop? So you have to get a graff writer in here to break down how they were passing along secrets and understandings and cultural aesthetics. You know, somebody like \u003ca href=\"http://www.refa1.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Refa One\u003c/a>.\u003c/p>\n\u003cp>I think us as DJs, there’s a whole path that we took, right? … So I’ll give you an example: There was a guy named Quickie Kev who was on the campus, and I was the main DJ, but Quickie Kev came out of L.A. and he knew how to scratch. His scratch was picked up from [the radio station] KDAY. And at that time, they had a bunch of DJs on there. Tony G. Joe Cooley, right? So there was an “L.A. Fast Scratch,” that’s what we called it. And he picked that up, and he was vicious on it. So whenever he did a party, people were sitting around like, “Man, how do we do that?” So that became one way some of that trickery was passed along. Much of it was seeing somebody who had a skillset, and they would pick it up.\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/7bYXW4x7RXk'\n title='//www.youtube.com/embed/7bYXW4x7RXk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cb>Was there a point in the late ’80s, early ’90s where you could pinpoint and say hip-hop had irreversibly established itself?\u003c/b>\u003c/p>\n\u003cp>When \u003ci>Beat Street\u003c/i> came out, I think there was no turning back. Shout out to Harry Belafonte and all those people who put it together. I know we had \u003ci>Krush Groove\u003c/i>, and \u003ci>Wild Style\u003c/i> had come out prior to that. But I think \u003ci>Beat Street\u003c/i> because it was such a mainstream thing, it was the one that was for people who grew up with that in New York — this was a validation. I think there was no turning back at that point.\u003c/p>\n\u003cp>I remember, I was at a place called the Promenade, which is next to Marble Hill Projects in the Bronx. And my crew was doing a party. And I remember sitting there like, “Wow, look at all these people here.” And I said, “I wonder if people around the world know what we’re doing.” This is incredible. It just hit me. And within two years time, “\u003ca href=\"https://www.npr.org/2000/12/29/1116242/rappers-delight\" target=\"_blank\" rel=\"noopener noreferrer\">Rapper’s Delight\u003c/a>” came out and that was irreversible there.\u003c/p>\n\u003cp>\u003cb>So, one more question on my end: 50 years from now, hip-hop is…?\u003c/b>\u003c/p>\n\u003cp>Hip-hop will be a continuation of Black expression, it ain’t going nowhere. We’re gonna stop singing and vocalizing ourselves? No. We gonna stop dancing? No. Are we going to have different rhythms? Absolutely. You can have a crunk beat, boom-bap beat, hyphy beat, underground lo-fi beat, jazzy beat, right? You can have those 808 beats, Miami bass beat. There’s like 50 different beats that you can find within hip-hop. There will be new beats 50 years from now. It might not be called hip-hop, but it’s still going to be here.\u003c/p>\n\u003cp>It will never leave because hip-hop at its core is the expression of people who want to build community with one another. Who want to lose themselves in other ways, to express themselves and not be limited to what society says is valid expression.\u003c/p>\n\u003cp>The key for us is, can we connect the past with the present? And can we connect the past and present to the future? That’s our job. So we’re here to open your mind, and as Black Moon would say, “get you open.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-11687704\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/06/Turntable.Break_-800x60.jpg\" alt=\"\" width=\"800\" height=\"60\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-400x30.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-768x58.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13923978/davey-d-hip-hop-1984",
"authors": [
"11491"
],
"programs": [
"arts_8720"
],
"series": [
"arts_22314"
],
"categories": [
"arts_1",
"arts_966",
"arts_69",
"arts_70"
],
"tags": [
"arts_8505",
"arts_1270",
"arts_7711",
"arts_831",
"arts_19347"
],
"featImg": "arts_13924559",
"label": "source_arts_13923978"
},
"arts_13924375": {
"type": "posts",
"id": "arts_13924375",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13924375",
"score": null,
"sort": [
1675121290000
]
},
"guestAuthors": [],
"slug": "ambrose-akinmusire-jazz-trumpet-grammys-oakland-music",
"title": "Ambrose Akinmusire Is Skipping the Grammys to Honor His Music Heroes",
"publishDate": 1675121290,
"format": "standard",
"headTitle": "Ambrose Akinmusire Is Skipping the Grammys to Honor His Music Heroes | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"content": "\u003cp>Oakland-born jazz trumpeter \u003ca href=\"https://www.ambroseakinmusire.com/\">Ambrose Akinmusire\u003c/a> received the second Grammy nomination of his career in November. It was for Best Improvised Jazz Solo, with the song “Rounds (Live)” on Terri Lynne Carrington’s pivotal \u003cem>\u003ca href=\"https://www.npr.org/2022/09/21/1124362063/terri-lyne-carrington-addresses-womens-omission-from-jazz-canon-with-new-standar\">New Standards, Vol. 1\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>But Akinmusire won’t be in Los Angeles on Feb. 5 for this year’s awards ceremony. Instead, the acclaimed musician will be in the Bay — where he’s based — paying tribute to his musical mentors, with a new residency Feb. 3–9 at SFJAZZ.\u003c/p>\n\u003cp>[aside label=\"Related Stories\" postID=\"arts_13887363\"]Described as possibly “the most distinctive, elusive and ultimately satisfying trumpeter of his generation,” by \u003ca href=\"https://www.nytimes.com/2018/10/10/arts/music/ambrose-akinmusire-origami-harvest-review.html\">the \u003ci>New York Times\u003c/i>\u003c/a>, Akinmusire is a master improviser whose original compositions blend influences beyond classical jazz, including poetry, blues and hip-hop. And while his talent and accomplishments regularly send him to venues all over the world, there’s still no place like home.\u003c/p>\n\u003cp>“I believe that Oakland, specifically, is sacred ground,” says Akinmusire. “I think it’s a place where you can come and replenish yourself. And that’s something that I see in the culture. It’s something I hear in the music. It’s something that I hear in the way we talk.”\u003c/p>\n\u003cp>The series of four performances will cap off his role as one of SFJAZZ’s 2022-23 resident artistic directors. “I told [SFJAZZ] I just wanted to find creative ways of saying ‘thank you.’ Showing gratitude,” says the musician of the opportunity.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Dm2eK__EbUw\u003c/p>\n\u003cp>He kicked off the role last March with a residency titled “Porter,” after his first jazz trumpet teacher, the late Robert Porter, and featured guest performances by some of the Bay Area musicians and mentors who shaped him as an artist, like bassist \u003ca href=\"https://www.kqed.org/arts/tag/marcus-shelby\">Marcus Shelby\u003c/a>.\u003c/p>\n\u003cp>“There was a lot of older cats that were here that mentored me that nobody knows of. Like \u003ca href=\"https://www.eastbaytimes.com/2005/02/06/local-jazz-great-ed-kelly-69-dies/\">Ed Kelly\u003c/a> or Robert Porter or \u003ca href=\"https://www.sfgate.com/music/article/Khalil-Shaheed-noted-jazz-trumpet-player-dies-3439622.php\">Khalil Shaheed\u003c/a> … a drummer named Hi Fi — all these old-school cats who were just around,” says Akinmusire, who played in the jazz ensemble at Berkeley High School. “And some of them were ex-Black Panthers and all these other things. But they played jazz and they were really instrumental in developing me and a lot of the younger musicians.”\u003c/p>\n\u003cp>The tribute to his musical heroes continues with this new run of performances, which will feature artists like drummer Thomas Pridgen, formerly of the group Mars Volta, and saxophonist Joshua Redman, a fellow Berkeley High alum.\u003c/p>\n\u003cp>Akinmusire will perform as part of a quartet, trio and duo at the SFJAZZ Center’s Miner Auditorium and then conclude with a solo performance at San Francisco’s Grace Cathedral, giving a cool “countdown” structure to the performances — 4, 3, 2, 1 — for which Akinmusire gives credit to outgoing SFJAZZ founder and executive artistic director Randall Kline.\u003c/p>\n\u003cp>For the duo performance, Akinmusire will be joined by legendary double bassist Ron Carter — which is a dream come true for the trumpeter. “At a young age, I wanted to — and I still want to — be Ron Carter. I want to grow up and have the integrity that he has. I mean everything he says, every note he plays has so much integrity and beauty in it,” says the musician, pointing out that Carter doesn’t typically perform with artists of Akinmusire’s generation.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=86PPN1zVdZw\u003c/p>\n\u003cp>The final, solo performance at Grace Cathedral carries special meaning, says the musician, who notes that he recorded a solo album about a year and a half ago that has yet to be released.\u003c/p>\n\u003cp>“Playing solo has just been something that’s been in the back of my head,” he says. The appeal, he adds, is the beauty that lives in sitting with oneself — and that being enough.\u003c/p>\n\u003cp>“I think when you have a lot of technique and you can play almost everything that’s in your head, it’s hard to commit to beauty. It’s hard to not do the flashy stuff,” says Akinmusire. “So I wanted to do a solo project that is just about sitting in the center of the beauty. The center of self, which is, for me, beauty. And so that’s why I’m doing the Grace Cathedral [show].”\u003c/p>\n\u003cp>And that’s likely why so many music lovers will relish the opportunity to experience it with him.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003ci>Ambrose Akinmusire performs nightly from Feb. 3–5 at the SFJAZZ Center and Feb. 9 at Grace Cathedral in San Francisco. \u003ca href=\"https://www.sfjazz.org/calendar/?month=2.2023&series=50876\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
"blocks": [],
"excerpt": "The acclaimed jazz trumpeter, who received his second nomination in November, performs at an SFJAZZ residency Feb. 3–9.",
"status": "publish",
"parent": 0,
"modified": 1726759056,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 18,
"wordCount": 814
},
"headData": {
"title": "Ambrose Akinmusire Is Skipping the Grammys for Bay Area Shows | KQED",
"description": "The acclaimed jazz trumpeter, who received his second nomination in November, performs at an SFJAZZ residency Feb. 3–9.",
"ogTitle": "Ambrose Akinmusire Is Skipping the Grammys to Honor His Oakland Music Heroes",
"ogDescription": "",
"ogImgId": "",
"twTitle": "Ambrose Akinmusire Is Skipping the Grammys to Honor His Oakland Music Heroes",
"twDescription": "",
"twImgId": "",
"socialTitle": "Ambrose Akinmusire Is Skipping the Grammys for Bay Area Shows %%page%% %%sep%% KQED",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Ambrose Akinmusire Is Skipping the Grammys to Honor His Music Heroes",
"datePublished": "2023-01-30T15:28:10-08:00",
"dateModified": "2024-09-19T08:17:36-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"audioUrl": "https://traffic.omny.fm/d/clips/0af137ef-751e-4b19-a055-aaef00d2d578/ffca7e9f-6831-4[…]f-aaef00f5a073/72b58c58-d7f5-4320-bb30-af9e014a1191/audio.mp3",
"sticky": false,
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/13924375/ambrose-akinmusire-jazz-trumpet-grammys-oakland-music",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Oakland-born jazz trumpeter \u003ca href=\"https://www.ambroseakinmusire.com/\">Ambrose Akinmusire\u003c/a> received the second Grammy nomination of his career in November. It was for Best Improvised Jazz Solo, with the song “Rounds (Live)” on Terri Lynne Carrington’s pivotal \u003cem>\u003ca href=\"https://www.npr.org/2022/09/21/1124362063/terri-lyne-carrington-addresses-womens-omission-from-jazz-canon-with-new-standar\">New Standards, Vol. 1\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>But Akinmusire won’t be in Los Angeles on Feb. 5 for this year’s awards ceremony. Instead, the acclaimed musician will be in the Bay — where he’s based — paying tribute to his musical mentors, with a new residency Feb. 3–9 at SFJAZZ.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"label": "Related Stories ",
"postid": "arts_13887363"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Described as possibly “the most distinctive, elusive and ultimately satisfying trumpeter of his generation,” by \u003ca href=\"https://www.nytimes.com/2018/10/10/arts/music/ambrose-akinmusire-origami-harvest-review.html\">the \u003ci>New York Times\u003c/i>\u003c/a>, Akinmusire is a master improviser whose original compositions blend influences beyond classical jazz, including poetry, blues and hip-hop. And while his talent and accomplishments regularly send him to venues all over the world, there’s still no place like home.\u003c/p>\n\u003cp>“I believe that Oakland, specifically, is sacred ground,” says Akinmusire. “I think it’s a place where you can come and replenish yourself. And that’s something that I see in the culture. It’s something I hear in the music. It’s something that I hear in the way we talk.”\u003c/p>\n\u003cp>The series of four performances will cap off his role as one of SFJAZZ’s 2022-23 resident artistic directors. “I told [SFJAZZ] I just wanted to find creative ways of saying ‘thank you.’ Showing gratitude,” says the musician of the opportunity.\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/Dm2eK__EbUw'\n title='//www.youtube.com/embed/Dm2eK__EbUw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>He kicked off the role last March with a residency titled “Porter,” after his first jazz trumpet teacher, the late Robert Porter, and featured guest performances by some of the Bay Area musicians and mentors who shaped him as an artist, like bassist \u003ca href=\"https://www.kqed.org/arts/tag/marcus-shelby\">Marcus Shelby\u003c/a>.\u003c/p>\n\u003cp>“There was a lot of older cats that were here that mentored me that nobody knows of. Like \u003ca href=\"https://www.eastbaytimes.com/2005/02/06/local-jazz-great-ed-kelly-69-dies/\">Ed Kelly\u003c/a> or Robert Porter or \u003ca href=\"https://www.sfgate.com/music/article/Khalil-Shaheed-noted-jazz-trumpet-player-dies-3439622.php\">Khalil Shaheed\u003c/a> … a drummer named Hi Fi — all these old-school cats who were just around,” says Akinmusire, who played in the jazz ensemble at Berkeley High School. “And some of them were ex-Black Panthers and all these other things. But they played jazz and they were really instrumental in developing me and a lot of the younger musicians.”\u003c/p>\n\u003cp>The tribute to his musical heroes continues with this new run of performances, which will feature artists like drummer Thomas Pridgen, formerly of the group Mars Volta, and saxophonist Joshua Redman, a fellow Berkeley High alum.\u003c/p>\n\u003cp>Akinmusire will perform as part of a quartet, trio and duo at the SFJAZZ Center’s Miner Auditorium and then conclude with a solo performance at San Francisco’s Grace Cathedral, giving a cool “countdown” structure to the performances — 4, 3, 2, 1 — for which Akinmusire gives credit to outgoing SFJAZZ founder and executive artistic director Randall Kline.\u003c/p>\n\u003cp>For the duo performance, Akinmusire will be joined by legendary double bassist Ron Carter — which is a dream come true for the trumpeter. “At a young age, I wanted to — and I still want to — be Ron Carter. I want to grow up and have the integrity that he has. I mean everything he says, every note he plays has so much integrity and beauty in it,” says the musician, pointing out that Carter doesn’t typically perform with artists of Akinmusire’s generation.\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/86PPN1zVdZw'\n title='//www.youtube.com/embed/86PPN1zVdZw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The final, solo performance at Grace Cathedral carries special meaning, says the musician, who notes that he recorded a solo album about a year and a half ago that has yet to be released.\u003c/p>\n\u003cp>“Playing solo has just been something that’s been in the back of my head,” he says. The appeal, he adds, is the beauty that lives in sitting with oneself — and that being enough.\u003c/p>\n\u003cp>“I think when you have a lot of technique and you can play almost everything that’s in your head, it’s hard to commit to beauty. It’s hard to not do the flashy stuff,” says Akinmusire. “So I wanted to do a solo project that is just about sitting in the center of the beauty. The center of self, which is, for me, beauty. And so that’s why I’m doing the Grace Cathedral [show].”\u003c/p>\n\u003cp>And that’s likely why so many music lovers will relish the opportunity to experience it with him.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003ci>Ambrose Akinmusire performs nightly from Feb. 3–5 at the SFJAZZ Center and Feb. 9 at Grace Cathedral in San Francisco. \u003ca href=\"https://www.sfjazz.org/calendar/?month=2.2023&series=50876\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13924375/ambrose-akinmusire-jazz-trumpet-grammys-oakland-music",
"authors": [
"11296"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_69"
],
"tags": [
"arts_4516",
"arts_8355",
"arts_1270",
"arts_1626",
"arts_1420",
"arts_1720",
"arts_1143",
"arts_2048",
"arts_585"
],
"featImg": "arts_13924461",
"label": "arts_140"
},
"arts_13923005": {
"type": "posts",
"id": "arts_13923005",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13923005",
"score": null,
"sort": [
1671570087000
]
},
"parent": 0,
"labelTerm": {},
"blocks": [],
"publishDate": 1671570087,
"format": "standard",
"title": "An East Bay Chef's Japanese New Year Meals Celebrate Intergenerational Joy",
"headTitle": "An East Bay Chef’s Japanese New Year Meals Celebrate Intergenerational Joy | KQED",
"content": "\u003cp>As a teenager growing up in the East Bay, Yuji Ishikata veered away from formal schooling. Instead, he gained his education by working at local restaurants and grocery stores, including Berkeley Bowl and \u003ca href=\"https://www.tokyofish.net/\">Tokyo Fish Market\u003c/a>. As a Yonsei — a fourth-generation Japanese American — that’s where he embraced his community of elders and peers while developing a love for culinary expression.\u003c/p>\n\u003cp>Now a chef with over 15 years of experience in the food industry, Ishikata is inviting others to experience the tight-knit traditions he was raised around. And for him, there’s nothing more representative of those traditions than Japanese New Year, which he’ll ring in with a \u003ca href=\"https://www.instagram.com/p/CmW4euKvEBN/?hl=en\">one-day pop-up\u003c/a> featuring dishes rooted in the childhood nostalgia and intergenerational joy inherent to the holiday.\u003c/p>\n\u003cp>“There’s so many different types of foods that represent different aspects of life in Japanese culture,” says Ishikata, who currently works as the Nutrition Program Chef at \u003ca href=\"https://j-sei.org/\">J-Sei\u003c/a>, a senior-focused Asian American cultural center. “I remember those smells. These are things my grandma, aunties and uncles cooked every New Year. I want to modernize it and introduce it to anyone who wants food that represents the Japanese New Year with love and soul put into it.”\u003c/p>\n\u003cfigure id=\"attachment_13923024\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13923024\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/osechi_chefyuji.jpg\" alt=\"Chef in a baseball cap and a sleeve tattoo leans over a table of Japanese New Year's boxes that he's preparing.\" width=\"1920\" height=\"1440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/osechi_chefyuji.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/osechi_chefyuji-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/osechi_chefyuji-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/osechi_chefyuji-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/osechi_chefyuji-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/osechi_chefyuji-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Chef Yuji Ishikata cut his teeth in the food industry as an East Bay teen, working at places like Berkeley Bowl and Tokyo Fish Market. \u003ccite>(J-Sei)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ishikata recalls an open-door policy among older Japanese immigrants and Japanese American neighbors who would serve special holiday dishes for friends and guests as a way to start the calendar year with community, intention and gratitude. That’s the spirit Ishikata is bringing to his New Year’s pop-up, a collaboration with Berkeley’s Tokyo Fish Market that he’s calling “\u003ca href=\"https://www.instagram.com/p/Clm30ckLEHb/\">Oshogatsu Offering.\u003c/a>”\u003c/p>\n\u003cp>The menu will offer four meal options: an ozoni soup kit, for making a fish broth–based mochi soup that Japanese households eat on New Year’s Day; hamachi kama (the fatty, oily collar of yellowtail fish marinated in sake pulp); a temaki hand roll kit — a create-your-own-adventure food experience that allows diners to make their own sushi with spicy tuna, salmon skin and roe, pickled plums, shiso and more; and the osechi ryori box, the traditional full-fledged holiday meal whose components — including chikuzenni (simmered chicken and root vegetables), umami no ebi (simmered shrimp) and namasu (daikon and carrot salad) — are served up in decorative boxes.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It’s no accident that the foods are steeped in shareability and customization, a reflection of a generous collective mindset and language of exchange. In Ishikata’s rendition, an order of one of the large meals will feed four to six people; ordering all four meals can feed up to 20. The experience is meant to highlight the holiday’s flair as much as its large flavors.\u003c/p>\n\u003cfigure id=\"attachment_13923025\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13923025\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/osechi_salad.jpg\" alt=\"Many wooden boxes filled with traditional Japanese New Year's dishes, including colorful fish cakes, daikon and carrot salad, and sweet black soybeans.\" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/osechi_salad.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/osechi_salad-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/osechi_salad-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/osechi_salad-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/osechi_salad-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/osechi_salad-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/osechi_salad-1536x2048.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Namasu (daikon and carrot salad), sweet black soybeans and other traditional New Year’s dishes. \u003ccite>(J-Sei)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“When you open the box, it’s a celebratory time,” says Ishikata. “I want to be able to share this New Year’s thing because I want to make it special for everybody. It was always a big party.”\u003c/p>\n\u003cp>[aside postID='arts_13920714,arts_13921917,arts_13904788']Each meal is carefully prepared with attention to “Japanese aesthetics,” like floral patterns on the vegetables created with delicate knife-work meant to elicit the individual beauty of each ingredient. Ishikata is also deliberate with where he sources his produce, having built a relationship with Japanese-owned \u003ca href=\"https://www.goodeggs.com/hikarifarms\">Hikari Farms\u003c/a> in Watsonville. Though the farm’s founders are now 99 and 101 years old, Ishikata hopes to continue their legacy by working with the new owner who has inherited her family’s mission.\u003c/p>\n\u003cp>“As a chef, this is a special place to me. I’ve taken it seriously as my responsibility to represent for us, regardless of our ethnicity, to be that voice to show that our generation cares about these things,” he says. “If we don’t, who will?”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>The Oshogatsu Offering Japanese New Year’s meals are available to order at Tokyo Fish Market (1220 San Pablo Ave., Berkeley) from now through Dec. 24. Pickups will take place at J-Sei (1285 66th St., Emeryville) on Jan. 1, 2023, at noon, 1 p.m., and 2 p.m. Prices vary from $15–300. For further details or inquiries, contact Yuji Ishikata on \u003c/i>\u003ca href=\"https://www.instagram.com/ishikatanotabekata/?hl=en\">\u003ci>Instagram\u003c/i>\u003c/a>\u003ci>.\u003c/i>\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 777,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 13
},
"modified": 1705006038,
"excerpt": "Osechi ryori boxes, mochi soup and sushi hand roll kits sold in collaboration with Berkeley's Tokyo Fish Market.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Osechi ryori boxes, mochi soup and sushi hand roll kits sold in collaboration with Berkeley's Tokyo Fish Market.",
"title": "An East Bay Chef's Japanese New Year Meals Celebrate Intergenerational Joy | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "An East Bay Chef's Japanese New Year Meals Celebrate Intergenerational Joy",
"datePublished": "2022-12-20T13:01:27-08:00",
"dateModified": "2024-01-11T12:47:18-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "japanese-new-year-osechi-boxes-tokyo-fish-market-yuji-ishikata-berkeley",
"status": "publish",
"sourceUrl": "https://www.kqed.org/food/",
"excludeFromSiteSearch": "Include",
"sticky": false,
"source": "Food",
"articleAge": "0",
"path": "/arts/13923005/japanese-new-year-osechi-boxes-tokyo-fish-market-yuji-ishikata-berkeley",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As a teenager growing up in the East Bay, Yuji Ishikata veered away from formal schooling. Instead, he gained his education by working at local restaurants and grocery stores, including Berkeley Bowl and \u003ca href=\"https://www.tokyofish.net/\">Tokyo Fish Market\u003c/a>. As a Yonsei — a fourth-generation Japanese American — that’s where he embraced his community of elders and peers while developing a love for culinary expression.\u003c/p>\n\u003cp>Now a chef with over 15 years of experience in the food industry, Ishikata is inviting others to experience the tight-knit traditions he was raised around. And for him, there’s nothing more representative of those traditions than Japanese New Year, which he’ll ring in with a \u003ca href=\"https://www.instagram.com/p/CmW4euKvEBN/?hl=en\">one-day pop-up\u003c/a> featuring dishes rooted in the childhood nostalgia and intergenerational joy inherent to the holiday.\u003c/p>\n\u003cp>“There’s so many different types of foods that represent different aspects of life in Japanese culture,” says Ishikata, who currently works as the Nutrition Program Chef at \u003ca href=\"https://j-sei.org/\">J-Sei\u003c/a>, a senior-focused Asian American cultural center. “I remember those smells. These are things my grandma, aunties and uncles cooked every New Year. I want to modernize it and introduce it to anyone who wants food that represents the Japanese New Year with love and soul put into it.”\u003c/p>\n\u003cfigure id=\"attachment_13923024\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13923024\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/osechi_chefyuji.jpg\" alt=\"Chef in a baseball cap and a sleeve tattoo leans over a table of Japanese New Year's boxes that he's preparing.\" width=\"1920\" height=\"1440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/osechi_chefyuji.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/osechi_chefyuji-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/osechi_chefyuji-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/osechi_chefyuji-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/osechi_chefyuji-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/osechi_chefyuji-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Chef Yuji Ishikata cut his teeth in the food industry as an East Bay teen, working at places like Berkeley Bowl and Tokyo Fish Market. \u003ccite>(J-Sei)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ishikata recalls an open-door policy among older Japanese immigrants and Japanese American neighbors who would serve special holiday dishes for friends and guests as a way to start the calendar year with community, intention and gratitude. That’s the spirit Ishikata is bringing to his New Year’s pop-up, a collaboration with Berkeley’s Tokyo Fish Market that he’s calling “\u003ca href=\"https://www.instagram.com/p/Clm30ckLEHb/\">Oshogatsu Offering.\u003c/a>”\u003c/p>\n\u003cp>The menu will offer four meal options: an ozoni soup kit, for making a fish broth–based mochi soup that Japanese households eat on New Year’s Day; hamachi kama (the fatty, oily collar of yellowtail fish marinated in sake pulp); a temaki hand roll kit — a create-your-own-adventure food experience that allows diners to make their own sushi with spicy tuna, salmon skin and roe, pickled plums, shiso and more; and the osechi ryori box, the traditional full-fledged holiday meal whose components — including chikuzenni (simmered chicken and root vegetables), umami no ebi (simmered shrimp) and namasu (daikon and carrot salad) — are served up in decorative boxes.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s no accident that the foods are steeped in shareability and customization, a reflection of a generous collective mindset and language of exchange. In Ishikata’s rendition, an order of one of the large meals will feed four to six people; ordering all four meals can feed up to 20. The experience is meant to highlight the holiday’s flair as much as its large flavors.\u003c/p>\n\u003cfigure id=\"attachment_13923025\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13923025\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/osechi_salad.jpg\" alt=\"Many wooden boxes filled with traditional Japanese New Year's dishes, including colorful fish cakes, daikon and carrot salad, and sweet black soybeans.\" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/osechi_salad.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/osechi_salad-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/osechi_salad-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/osechi_salad-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/osechi_salad-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/osechi_salad-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/osechi_salad-1536x2048.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Namasu (daikon and carrot salad), sweet black soybeans and other traditional New Year’s dishes. \u003ccite>(J-Sei)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“When you open the box, it’s a celebratory time,” says Ishikata. “I want to be able to share this New Year’s thing because I want to make it special for everybody. It was always a big party.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13920714,arts_13921917,arts_13904788",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Each meal is carefully prepared with attention to “Japanese aesthetics,” like floral patterns on the vegetables created with delicate knife-work meant to elicit the individual beauty of each ingredient. Ishikata is also deliberate with where he sources his produce, having built a relationship with Japanese-owned \u003ca href=\"https://www.goodeggs.com/hikarifarms\">Hikari Farms\u003c/a> in Watsonville. Though the farm’s founders are now 99 and 101 years old, Ishikata hopes to continue their legacy by working with the new owner who has inherited her family’s mission.\u003c/p>\n\u003cp>“As a chef, this is a special place to me. I’ve taken it seriously as my responsibility to represent for us, regardless of our ethnicity, to be that voice to show that our generation cares about these things,” he says. “If we don’t, who will?”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>The Oshogatsu Offering Japanese New Year’s meals are available to order at Tokyo Fish Market (1220 San Pablo Ave., Berkeley) from now through Dec. 24. Pickups will take place at J-Sei (1285 66th St., Emeryville) on Jan. 1, 2023, at noon, 1 p.m., and 2 p.m. Prices vary from $15–300. For further details or inquiries, contact Yuji Ishikata on \u003c/i>\u003ca href=\"https://www.instagram.com/ishikatanotabekata/?hl=en\">\u003ci>Instagram\u003c/i>\u003c/a>\u003ci>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13923005/japanese-new-year-osechi-boxes-tokyo-fish-market-yuji-ishikata-berkeley",
"authors": [
"11748"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_12276"
],
"tags": [
"arts_4672",
"arts_1270",
"arts_6357",
"arts_10278",
"arts_1297",
"arts_21732",
"arts_585"
],
"featImg": "arts_13923021",
"label": "source_arts_13923005"
},
"arts_13921567": {
"type": "posts",
"id": "arts_13921567",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13921567",
"score": null,
"sort": [
1668618036000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 140
},
"blocks": [],
"publishDate": 1668618036,
"format": "standard",
"title": "'Natasha, Pierre & the Great Comet of 1812' a Grand Reunion for Dave Malloy and Shotgun Players",
"headTitle": "‘Natasha, Pierre & the Great Comet of 1812’ a Grand Reunion for Dave Malloy and Shotgun Players | KQED",
"content": "\u003cp>It’s been a good year for composer and playsmith Dave Malloy reconnecting to the Bay Area. His chamber musical \u003cem>Octet\u003c/em> had a Berkeley Rep run in the spring, and, last week, his highly-anticipated West Coast premiere of \u003cem>Natasha, Pierre & the Great Comet of 1812 \u003c/em>opened for previews at the Ashby Stage. Once a Shotgun Players regular — having co-developed \u003cem>Beowulf, a Thousand Years of Baggage\u003c/em> in 2008, and \u003cem>Beardo\u003c/em> in 2011 — Malloy’s triumphal return feels almost pre-ordained. \u003c/p>\n\u003cp>Watch enough theatre in the Bay Area and you start to identify how one moment in an artist’s trajectory connects to another, years, sometimes decades down the line. In \u003cem>Great Comet\u003c/em> are reverberations of Malloy’s earlier works: A riff on a literary manuscript of great importance (in this case, \u003cem>War and Peace\u003c/em>), a reuniting with Imperial Russia, a rock-inflected score revealing the emotional layers of each character before they’re expressed in verse, and a playful quality infusing the action with an undercurrent of genial bonhomie, no matter its weight.\u003c/p>\n\u003cfigure id=\"attachment_13921570\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921570\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/GreatComet_JacquelineDennis_Credit_BenjaminKrantz-800x533.jpg\" alt=\"Jacqueline Dennis, a Black woman in a pink satin ballgown, stands centerstage in blue lighti, singing with her arms outstretched beneath a large chandelier\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GreatComet_JacquelineDennis_Credit_BenjaminKrantz-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GreatComet_JacquelineDennis_Credit_BenjaminKrantz-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GreatComet_JacquelineDennis_Credit_BenjaminKrantz-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GreatComet_JacquelineDennis_Credit_BenjaminKrantz-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GreatComet_JacquelineDennis_Credit_BenjaminKrantz.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jacqueline Dennis as Natasha in ‘Natasha, Pierre & the Great Comet of 1812,’ by Dave Malloy. \u003ccite>(Benjamin Krantz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This gaiety makes itself known even before the play begins. A Nina Ball-designed banquet table-cum-catwalk stretches from the stage into the center of the room, with the audience seated on either side. An enormous chandelier commands the space from above, a lone chair upholstered in red satin sits at one end of the runway, and the world’s smallest orchestra pit — containing just two musicians — peeks up from its center. (From here, music director Daniel Alley conducts and plays an upright piano while actors spin and prance all around.) Some audience members have come in costume (those who do get free drinks), jello shots are on the menu, and Russian electronica pumps through the sound system. It all adds up to a modern-day approximation of aristocratic decadence circa 1812.\u003c/p>\n\u003cp>Right from the top, Malloy makes this small foray into Tolstoy’s masterpiece as breezy and accessible as possible. There’s no need to have done the reading beforehand. The characters are each introduced by their defining characteristic. Natasha (Jacqueline Dennis) is “young.” Marya (Michelle Ianiro) is “old-school.” Anatole (Nick Rodrigues) is “hot.” His sister Hélène (Angel Adedokun) is a “slut.” And Andrey (James Mayagoitia) — Natasha’s fiancé — “isn’t here.”\u003c/p>\n\u003cfigure id=\"attachment_13921569\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921569\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/GreatComet_AngelAdedokun_Credit_BenjaminKrantz-800x1200.jpg\" alt=\"Angel Adedokun walks down a long catwalk, her hand raised in the air. She is a slender Black woman with long textured hair and a purple silk dress and black boots. The ensemble dances behind her.\" width=\"600\" height=\"900\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GreatComet_AngelAdedokun_Credit_BenjaminKrantz-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GreatComet_AngelAdedokun_Credit_BenjaminKrantz-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GreatComet_AngelAdedokun_Credit_BenjaminKrantz-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GreatComet_AngelAdedokun_Credit_BenjaminKrantz-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GreatComet_AngelAdedokun_Credit_BenjaminKrantz-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GreatComet_AngelAdedokun_Credit_BenjaminKrantz.jpg 1200w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Angel Adedokun as Hélène owning the runway in ‘Natasha, Pierre & the Great Comet of 1812,’ \u003ccite>(Benjamin Krantz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>From this point the story follows a predictable, almost melodramatic path. Natasha falls for the rakish Anaotle. Marya (and most of Moscovian society) is appalled. Hélène is an active participant in orchestrating their impending elopement. And Pierre (Albert Hodge) — Hélène’s beleaguered husband, whose satined seat at the center of the room affords him the best, most voyeuristic view into the lives of his play-mates — quietly turns the pages of his leather-bound copy of \u003cem>War and Peace\u003c/em> as its rambunctious contents unfold on the stage in front of him.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As Natasha, Jacqueline Dennis is a delightful anchor for the staged tempests of Tolstoy. Wearing her ill-advised desire for Anatole as freshly as the virginal rose she wears in her hair, Dennis shines with a celestial radiance that brightens and enhances each performer pulled into her orbit. These include a blissfully lovely duet with her winsome cousin Sonya (Veronica Renner); a blushing acceptance of the effects of her evident charms on Moscow’s elite, gathered around her at the opera; and the rakish whims of Anatole transformed almost to gentleness by her illuminating presence.\u003c/p>\n\u003cfigure id=\"attachment_13921571\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921571\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/GreatComet_NickRodrigues_Credit_BenjaminKrantz-800x533.jpg\" alt=\"Nick Rodrigues wearing a loose purple silk shirt and tight black trousers holds out his hand and smiles.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GreatComet_NickRodrigues_Credit_BenjaminKrantz-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GreatComet_NickRodrigues_Credit_BenjaminKrantz-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GreatComet_NickRodrigues_Credit_BenjaminKrantz-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GreatComet_NickRodrigues_Credit_BenjaminKrantz-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GreatComet_NickRodrigues_Credit_BenjaminKrantz.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Anatole is hot. Nick Rodrigues as Anatole in ‘Natasha, Pierre & the Great Comet of 1812,’ by Dave Malloy. \u003ccite>(Benjamin Krantz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In turn, Nick Rodrigues as Anatole cuts a very convincing cad. His vocals, while sometimes shaky, combine with superlative cheekbones to lend him the blazing sex appeal of a Wham!-era George Michael. Equally matched for heat and charm, Angel Adedokun as Hélène steals almost every scene she’s present in, even when it’s merely as a witness to the forward motion of unstoppable events. She struts down the catwalk like she owns it, flirts outrageously with every person within a 100-foot radius, and pounds out the beat of Anatole’s own overheated heart on a drum as he capriciously plots Natasha’s inevitable downfall.\u003c/p>\n\u003cfigure id=\"attachment_13921568\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921568\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/GreatComet_AlbertHodge_Credit_BenjaminKrantz-800x1200.jpg\" alt=\"Albert Hodge, a Black Man in a furcoat and a brown suit and red satin tie looks into the distance, a red curtain behind him.\" width=\"600\" height=\"900\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GreatComet_AlbertHodge_Credit_BenjaminKrantz-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GreatComet_AlbertHodge_Credit_BenjaminKrantz-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GreatComet_AlbertHodge_Credit_BenjaminKrantz-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GreatComet_AlbertHodge_Credit_BenjaminKrantz-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GreatComet_AlbertHodge_Credit_BenjaminKrantz-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GreatComet_AlbertHodge_Credit_BenjaminKrantz.jpg 1200w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Albert Hodge as Pierre in ‘Natasha, Pierre & the Great Comet of 1812,’ by Dave Malloy. \u003ccite>(Benjamin Krantz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Through all of the tumult and drama and excess, Pierre watches, often silently, from his corner of the room. When he joins the others, he drinks too much and speaks too loudly — a barroom philosophizer with a maudlin streak. And yet, Albert Hodge imbues his Pierre with a gravitas befitting his centrality to the plot. Despite (or perhaps because of) his less dignified moments, one can’t help but to root for things to finally work out in his favor. And so they do, when the long tail of the play comes back around to meet itself on the other side of intermission, like that of the titular Great Comet that dazzles both the nineteenth-century countryside and the twenty-first century theatre set. A brilliant beacon heralding a new age. Or, at least, a new path forward for Pierre and for his well-wishers, past and present.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Natasha, Pierre & the Great Comet of 1812’ runs through Jan. 15, 2023, at Ashby Stage in Berkeley. \u003ca href=\"http://shotgunplayers.org/online/article/great-comet\">Details here.\u003c/a>\u003c/em>\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 985,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 12
},
"modified": 1705006154,
"excerpt": "With an elaborate set in tow, Dave Malloy's return to the Bay Area offers a joyful adaptation of 'War and Peace.'",
"headData": {
"twImgId": "",
"twTitle": "Review: 'Natasha, Pierre & the Great Comet of 1812' is Elegant, Elaborate at Shotgun Players",
"socialTitle": "Review: 'Natasha, Pierre & the Great Comet of 1812' is Elegant, Elaborate at Shotgun Players %%page%% %%sep%% KQED",
"ogTitle": "Review: 'Natasha, Pierre & the Great Comet of 1812' is Elegant, Elaborate at Shotgun Players",
"ogImgId": "",
"twDescription": "",
"description": "With an elaborate set in tow, Dave Malloy's return to the Bay Area offers a joyful adaptation of 'War and Peace.'",
"title": "Review: 'Natasha, Pierre & the Great Comet of 1812' is Elegant, Elaborate at Shotgun Players | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "'Natasha, Pierre & the Great Comet of 1812' a Grand Reunion for Dave Malloy and Shotgun Players",
"datePublished": "2022-11-16T09:00:36-08:00",
"dateModified": "2024-01-11T12:49:14-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "review-natasha-pierre-the-great-comet-of-1812-dave-malloy-shotgun-players",
"status": "publish",
"templateType": "standard",
"excludeFromSiteSearch": "Include",
"featuredImageType": "standard",
"sticky": false,
"path": "/arts/13921567/review-natasha-pierre-the-great-comet-of-1812-dave-malloy-shotgun-players",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s been a good year for composer and playsmith Dave Malloy reconnecting to the Bay Area. His chamber musical \u003cem>Octet\u003c/em> had a Berkeley Rep run in the spring, and, last week, his highly-anticipated West Coast premiere of \u003cem>Natasha, Pierre & the Great Comet of 1812 \u003c/em>opened for previews at the Ashby Stage. Once a Shotgun Players regular — having co-developed \u003cem>Beowulf, a Thousand Years of Baggage\u003c/em> in 2008, and \u003cem>Beardo\u003c/em> in 2011 — Malloy’s triumphal return feels almost pre-ordained. \u003c/p>\n\u003cp>Watch enough theatre in the Bay Area and you start to identify how one moment in an artist’s trajectory connects to another, years, sometimes decades down the line. In \u003cem>Great Comet\u003c/em> are reverberations of Malloy’s earlier works: A riff on a literary manuscript of great importance (in this case, \u003cem>War and Peace\u003c/em>), a reuniting with Imperial Russia, a rock-inflected score revealing the emotional layers of each character before they’re expressed in verse, and a playful quality infusing the action with an undercurrent of genial bonhomie, no matter its weight.\u003c/p>\n\u003cfigure id=\"attachment_13921570\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921570\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/GreatComet_JacquelineDennis_Credit_BenjaminKrantz-800x533.jpg\" alt=\"Jacqueline Dennis, a Black woman in a pink satin ballgown, stands centerstage in blue lighti, singing with her arms outstretched beneath a large chandelier\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GreatComet_JacquelineDennis_Credit_BenjaminKrantz-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GreatComet_JacquelineDennis_Credit_BenjaminKrantz-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GreatComet_JacquelineDennis_Credit_BenjaminKrantz-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GreatComet_JacquelineDennis_Credit_BenjaminKrantz-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GreatComet_JacquelineDennis_Credit_BenjaminKrantz.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jacqueline Dennis as Natasha in ‘Natasha, Pierre & the Great Comet of 1812,’ by Dave Malloy. \u003ccite>(Benjamin Krantz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This gaiety makes itself known even before the play begins. A Nina Ball-designed banquet table-cum-catwalk stretches from the stage into the center of the room, with the audience seated on either side. An enormous chandelier commands the space from above, a lone chair upholstered in red satin sits at one end of the runway, and the world’s smallest orchestra pit — containing just two musicians — peeks up from its center. (From here, music director Daniel Alley conducts and plays an upright piano while actors spin and prance all around.) Some audience members have come in costume (those who do get free drinks), jello shots are on the menu, and Russian electronica pumps through the sound system. It all adds up to a modern-day approximation of aristocratic decadence circa 1812.\u003c/p>\n\u003cp>Right from the top, Malloy makes this small foray into Tolstoy’s masterpiece as breezy and accessible as possible. There’s no need to have done the reading beforehand. The characters are each introduced by their defining characteristic. Natasha (Jacqueline Dennis) is “young.” Marya (Michelle Ianiro) is “old-school.” Anatole (Nick Rodrigues) is “hot.” His sister Hélène (Angel Adedokun) is a “slut.” And Andrey (James Mayagoitia) — Natasha’s fiancé — “isn’t here.”\u003c/p>\n\u003cfigure id=\"attachment_13921569\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921569\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/GreatComet_AngelAdedokun_Credit_BenjaminKrantz-800x1200.jpg\" alt=\"Angel Adedokun walks down a long catwalk, her hand raised in the air. She is a slender Black woman with long textured hair and a purple silk dress and black boots. The ensemble dances behind her.\" width=\"600\" height=\"900\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GreatComet_AngelAdedokun_Credit_BenjaminKrantz-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GreatComet_AngelAdedokun_Credit_BenjaminKrantz-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GreatComet_AngelAdedokun_Credit_BenjaminKrantz-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GreatComet_AngelAdedokun_Credit_BenjaminKrantz-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GreatComet_AngelAdedokun_Credit_BenjaminKrantz-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GreatComet_AngelAdedokun_Credit_BenjaminKrantz.jpg 1200w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Angel Adedokun as Hélène owning the runway in ‘Natasha, Pierre & the Great Comet of 1812,’ \u003ccite>(Benjamin Krantz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>From this point the story follows a predictable, almost melodramatic path. Natasha falls for the rakish Anaotle. Marya (and most of Moscovian society) is appalled. Hélène is an active participant in orchestrating their impending elopement. And Pierre (Albert Hodge) — Hélène’s beleaguered husband, whose satined seat at the center of the room affords him the best, most voyeuristic view into the lives of his play-mates — quietly turns the pages of his leather-bound copy of \u003cem>War and Peace\u003c/em> as its rambunctious contents unfold on the stage in front of him.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As Natasha, Jacqueline Dennis is a delightful anchor for the staged tempests of Tolstoy. Wearing her ill-advised desire for Anatole as freshly as the virginal rose she wears in her hair, Dennis shines with a celestial radiance that brightens and enhances each performer pulled into her orbit. These include a blissfully lovely duet with her winsome cousin Sonya (Veronica Renner); a blushing acceptance of the effects of her evident charms on Moscow’s elite, gathered around her at the opera; and the rakish whims of Anatole transformed almost to gentleness by her illuminating presence.\u003c/p>\n\u003cfigure id=\"attachment_13921571\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921571\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/GreatComet_NickRodrigues_Credit_BenjaminKrantz-800x533.jpg\" alt=\"Nick Rodrigues wearing a loose purple silk shirt and tight black trousers holds out his hand and smiles.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GreatComet_NickRodrigues_Credit_BenjaminKrantz-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GreatComet_NickRodrigues_Credit_BenjaminKrantz-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GreatComet_NickRodrigues_Credit_BenjaminKrantz-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GreatComet_NickRodrigues_Credit_BenjaminKrantz-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GreatComet_NickRodrigues_Credit_BenjaminKrantz.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Anatole is hot. Nick Rodrigues as Anatole in ‘Natasha, Pierre & the Great Comet of 1812,’ by Dave Malloy. \u003ccite>(Benjamin Krantz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In turn, Nick Rodrigues as Anatole cuts a very convincing cad. His vocals, while sometimes shaky, combine with superlative cheekbones to lend him the blazing sex appeal of a Wham!-era George Michael. Equally matched for heat and charm, Angel Adedokun as Hélène steals almost every scene she’s present in, even when it’s merely as a witness to the forward motion of unstoppable events. She struts down the catwalk like she owns it, flirts outrageously with every person within a 100-foot radius, and pounds out the beat of Anatole’s own overheated heart on a drum as he capriciously plots Natasha’s inevitable downfall.\u003c/p>\n\u003cfigure id=\"attachment_13921568\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921568\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/GreatComet_AlbertHodge_Credit_BenjaminKrantz-800x1200.jpg\" alt=\"Albert Hodge, a Black Man in a furcoat and a brown suit and red satin tie looks into the distance, a red curtain behind him.\" width=\"600\" height=\"900\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GreatComet_AlbertHodge_Credit_BenjaminKrantz-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GreatComet_AlbertHodge_Credit_BenjaminKrantz-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GreatComet_AlbertHodge_Credit_BenjaminKrantz-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GreatComet_AlbertHodge_Credit_BenjaminKrantz-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GreatComet_AlbertHodge_Credit_BenjaminKrantz-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GreatComet_AlbertHodge_Credit_BenjaminKrantz.jpg 1200w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Albert Hodge as Pierre in ‘Natasha, Pierre & the Great Comet of 1812,’ by Dave Malloy. \u003ccite>(Benjamin Krantz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Through all of the tumult and drama and excess, Pierre watches, often silently, from his corner of the room. When he joins the others, he drinks too much and speaks too loudly — a barroom philosophizer with a maudlin streak. And yet, Albert Hodge imbues his Pierre with a gravitas befitting his centrality to the plot. Despite (or perhaps because of) his less dignified moments, one can’t help but to root for things to finally work out in his favor. And so they do, when the long tail of the play comes back around to meet itself on the other side of intermission, like that of the titular Great Comet that dazzles both the nineteenth-century countryside and the twenty-first century theatre set. A brilliant beacon heralding a new age. Or, at least, a new path forward for Pierre and for his well-wishers, past and present.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Natasha, Pierre & the Great Comet of 1812’ runs through Jan. 15, 2023, at Ashby Stage in Berkeley. \u003ca href=\"http://shotgunplayers.org/online/article/great-comet\">Details here.\u003c/a>\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13921567/review-natasha-pierre-the-great-comet-of-1812-dave-malloy-shotgun-players",
"authors": [
"11497"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_967"
],
"tags": [
"arts_1270",
"arts_10278",
"arts_2360",
"arts_1072",
"arts_585"
],
"featImg": "arts_13921572",
"label": "arts_140"
},
"arts_13921333": {
"type": "posts",
"id": "arts_13921333",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13921333",
"score": null,
"sort": [
1667590468000
]
},
"parent": 0,
"labelTerm": {},
"blocks": [],
"publishDate": 1667590468,
"format": "standard",
"title": "‘Colonialism Is Terrible, But Pho Is Delicious’ Is a Play About Food and Ownership",
"headTitle": "‘Colonialism Is Terrible, But Pho Is Delicious’ Is a Play About Food and Ownership | KQED",
"content": "\u003cp>If you ask playwright Dustin Chinn for his Joker origin story, he might point to that time in 2016 when \u003ci>Bon Appétit \u003c/i>released a video entitled “\u003ca href=\"https://www.facebook.com/a11in/videos/10155292990304897/?t=0\">PSA: This Is How You Should Be Eating Pho\u003c/a>.”\u003c/p>\n\u003cp>You might remember the one — the white chef in a backwards baseball cap confidently dismissing anyone who adds hoisin or Sriracha to their pho broth while, in the \u003ci>very next breath\u003c/i>, explaining that he’ll squeeze as many limes into his broth as the restaurant is willing to give him (!!).\u003c/p>\n\u003cp>It was one of those classic internet moments: There was the swift backlash (much of it from Vietnamese Americans righteously peeved at some dude-bro telling them they’d been doing it wrong this whole time), the \u003ca href=\"https://www.cosmopolitan.com/food-cocktails/news/a63868/bon-appetit-pho-controversy/\">defensive non-apology\u003c/a> and, eventually, a \u003ca href=\"https://www.bonappetit.com/story/how-you-should-eating-pho\">lengthier \u003ci>mea culpa\u003c/i>\u003c/a>. For Chinn, who is Chinese American, the incident helped spark a years-long obsession with questions of appropriation, colonialism and cultural ownership in food. Eventually, it culminated in his latest play, \u003ca href=\"https://auroratheatre.org/Pho\">\u003ci>Colonialism Is Terrible, But Pho Is Delicious\u003c/i>\u003c/a>, which debuts this week at the \u003ca href=\"https://auroratheatre.org/\">Aurora Theatre Company\u003c/a> in Berkeley under the direction of Oanh Nguyen.\u003c/p>\n\u003cfigure id=\"attachment_13921339\" class=\"wp-caption alignright\" style=\"max-width: 240px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13921339\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/dustin-chinn-headshot-160x224.jpg\" alt=\"Headshot of an Asian man in a hoodie.\" width=\"240\" height=\"336\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/dustin-chinn-headshot-160x224.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/dustin-chinn-headshot-768x1075.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/dustin-chinn-headshot.jpg 800w\" sizes=\"(max-width: 240px) 100vw, 240px\">\u003cfigcaption class=\"wp-caption-text\">Playwright Dustin Chinn. \u003ccite>(Courtesy of the Aurora Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp data-wp-editing=\"1\">“I think what struck me about [the video] was this particular brand of arrogance to suggest that there is a ‘right’ way [to eat pho]. And also for someone coming from the outsider perspective, who didn’t grow up in the tradition, to claim that they had ownership of it — wow, I don’t know where that comes from,” Chinn says. “Where do you cross the line to where you say, ‘I’ve got this. I’ve got this down’?”\u003c/p>\n\u003cp>The play is set up as a triptych, exploring the aforementioned themes of appropriation and ownership through scenes taken from three imagined moments in the history of pho. The first is a retelling of the dish’s creation story, which is at least partly apocryphal. Chinn’s version focuses on a French aristocrat living in Hanoi during the late 19th century, when the city was the colonial capital of French Indochina. He hires a Vietnamese cook, who has to learn how to prepare pot-au-feu, the French stew that some people believe is the dish that eventually evolved into Vietnamese pho (though this is \u003ca href=\"https://www.splendidtable.org/story/2017/03/06/evolution-of-pho-a-modern-dish-born-of-multicultural-traditions\">widely disputed\u003c/a>).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The second scene takes place in 1999 in Ho Chi Minh City, on the eve of President Bill Clinton’s visit — and right as Burger King was about to open the first American burger franchises in Vietnam. It focuses on two Americans visiting a pho cart, never having tried the dish before.\u003c/p>\n\u003cp>Finally, the last scene takes us to a Vietnamese restaurant in today’s rapidly gentrifying Brooklyn — a restaurant that, in a callback to the infamous \u003ci>Bon Appétit\u003c/i> video, refuses to provide any sauce to accompany its pho.\u003c/p>\n\u003cp>Each of the scenes deals with colonialism and the power dynamics that come into play when one culture adapts or borrows from another culture’s cuisine. Each explores questions of what kind of food is considered “fancy” and who profits — and how much they profit — off the sale and popularization of that food.\u003c/p>\n\u003cp>Chinn, for his part, doesn’t consider himself a “hardliner.” He doesn’t believe there should be any one-size-fits-all rule about who is “allowed” to cook certain types of food. He says he’s more interested in questions than in messages. That’s also why he says he wrote the play as a comedy rather than a straightforward drama.\u003c/p>\n\u003cp>[aside postID='arts_13905293,arts_13895488,arts_13914750']“I’m a Chinese American writing about Vietnamese themes,” Chinn says. “This play is not about what it means to be Vietnamese. This play is more about the gray areas within these discussions of authorship and cultural ownership.”\u003c/p>\n\u003cp>What he’s hoping is that the play will attract people who don’t typically go to the theater but who do feel invested in these kinds of issues around food culture. After all, he says, food is the one cultural topic that people get uniquely passionate about — to the point that there are some who consider it “hacky” when writers use food as a shorthand for culture.\u003c/p>\n\u003cp>For Chinn, however, it’s for good reason that food evokes those kinds of primal feelings in people. “It’s something you engage with every day, more than literature or even music. It encompasses things about family and daily needs,” Chinn says. “In lieu of religion, people get very religious about food.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Colonialism Is Terrible, But Pho Is Delicious\u003ci> is in previews until Nov. 10 at the Aurora Theatre Company (2081 Addison St., Berkeley). The official opening night is Thursday, Nov. 10 at 8 p.m., and the play runs until Dec. 4. You can \u003c/i>\u003ca href=\"https://tickets.auroratheatre.org/TheatreManager/1/online?event=0\">\u003ci>buy tickets online\u003c/i>\u003c/a>\u003ci>. \u003c/i>\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 853,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 15
},
"modified": 1705006181,
"excerpt": "Dustin Chinn’s new comedy at Berkeley’s Aurora Theatre was inspired by recent controversies around cultural appropriation.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Dustin Chinn’s new comedy at Berkeley’s Aurora Theatre was inspired by recent controversies around cultural appropriation.",
"title": "‘Colonialism Is Terrible, But Pho Is Delicious’ Is a Play About Food and Ownership | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "‘Colonialism Is Terrible, But Pho Is Delicious’ Is a Play About Food and Ownership",
"datePublished": "2022-11-04T12:34:28-07:00",
"dateModified": "2024-01-11T12:49:41-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "colonialism-is-terrible-but-pho-is-delicious-is-a-play-about-food-and-ownership",
"status": "publish",
"sourceUrl": "https://www.kqed.org/food",
"excludeFromSiteSearch": "Include",
"sticky": false,
"source": "Food",
"path": "/arts/13921333/colonialism-is-terrible-but-pho-is-delicious-is-a-play-about-food-and-ownership",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you ask playwright Dustin Chinn for his Joker origin story, he might point to that time in 2016 when \u003ci>Bon Appétit \u003c/i>released a video entitled “\u003ca href=\"https://www.facebook.com/a11in/videos/10155292990304897/?t=0\">PSA: This Is How You Should Be Eating Pho\u003c/a>.”\u003c/p>\n\u003cp>You might remember the one — the white chef in a backwards baseball cap confidently dismissing anyone who adds hoisin or Sriracha to their pho broth while, in the \u003ci>very next breath\u003c/i>, explaining that he’ll squeeze as many limes into his broth as the restaurant is willing to give him (!!).\u003c/p>\n\u003cp>It was one of those classic internet moments: There was the swift backlash (much of it from Vietnamese Americans righteously peeved at some dude-bro telling them they’d been doing it wrong this whole time), the \u003ca href=\"https://www.cosmopolitan.com/food-cocktails/news/a63868/bon-appetit-pho-controversy/\">defensive non-apology\u003c/a> and, eventually, a \u003ca href=\"https://www.bonappetit.com/story/how-you-should-eating-pho\">lengthier \u003ci>mea culpa\u003c/i>\u003c/a>. For Chinn, who is Chinese American, the incident helped spark a years-long obsession with questions of appropriation, colonialism and cultural ownership in food. Eventually, it culminated in his latest play, \u003ca href=\"https://auroratheatre.org/Pho\">\u003ci>Colonialism Is Terrible, But Pho Is Delicious\u003c/i>\u003c/a>, which debuts this week at the \u003ca href=\"https://auroratheatre.org/\">Aurora Theatre Company\u003c/a> in Berkeley under the direction of Oanh Nguyen.\u003c/p>\n\u003cfigure id=\"attachment_13921339\" class=\"wp-caption alignright\" style=\"max-width: 240px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13921339\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/dustin-chinn-headshot-160x224.jpg\" alt=\"Headshot of an Asian man in a hoodie.\" width=\"240\" height=\"336\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/dustin-chinn-headshot-160x224.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/dustin-chinn-headshot-768x1075.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/dustin-chinn-headshot.jpg 800w\" sizes=\"(max-width: 240px) 100vw, 240px\">\u003cfigcaption class=\"wp-caption-text\">Playwright Dustin Chinn. \u003ccite>(Courtesy of the Aurora Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp data-wp-editing=\"1\">“I think what struck me about [the video] was this particular brand of arrogance to suggest that there is a ‘right’ way [to eat pho]. And also for someone coming from the outsider perspective, who didn’t grow up in the tradition, to claim that they had ownership of it — wow, I don’t know where that comes from,” Chinn says. “Where do you cross the line to where you say, ‘I’ve got this. I’ve got this down’?”\u003c/p>\n\u003cp>The play is set up as a triptych, exploring the aforementioned themes of appropriation and ownership through scenes taken from three imagined moments in the history of pho. The first is a retelling of the dish’s creation story, which is at least partly apocryphal. Chinn’s version focuses on a French aristocrat living in Hanoi during the late 19th century, when the city was the colonial capital of French Indochina. He hires a Vietnamese cook, who has to learn how to prepare pot-au-feu, the French stew that some people believe is the dish that eventually evolved into Vietnamese pho (though this is \u003ca href=\"https://www.splendidtable.org/story/2017/03/06/evolution-of-pho-a-modern-dish-born-of-multicultural-traditions\">widely disputed\u003c/a>).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The second scene takes place in 1999 in Ho Chi Minh City, on the eve of President Bill Clinton’s visit — and right as Burger King was about to open the first American burger franchises in Vietnam. It focuses on two Americans visiting a pho cart, never having tried the dish before.\u003c/p>\n\u003cp>Finally, the last scene takes us to a Vietnamese restaurant in today’s rapidly gentrifying Brooklyn — a restaurant that, in a callback to the infamous \u003ci>Bon Appétit\u003c/i> video, refuses to provide any sauce to accompany its pho.\u003c/p>\n\u003cp>Each of the scenes deals with colonialism and the power dynamics that come into play when one culture adapts or borrows from another culture’s cuisine. Each explores questions of what kind of food is considered “fancy” and who profits — and how much they profit — off the sale and popularization of that food.\u003c/p>\n\u003cp>Chinn, for his part, doesn’t consider himself a “hardliner.” He doesn’t believe there should be any one-size-fits-all rule about who is “allowed” to cook certain types of food. He says he’s more interested in questions than in messages. That’s also why he says he wrote the play as a comedy rather than a straightforward drama.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13905293,arts_13895488,arts_13914750",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>“I’m a Chinese American writing about Vietnamese themes,” Chinn says. “This play is not about what it means to be Vietnamese. This play is more about the gray areas within these discussions of authorship and cultural ownership.”\u003c/p>\n\u003cp>What he’s hoping is that the play will attract people who don’t typically go to the theater but who do feel invested in these kinds of issues around food culture. After all, he says, food is the one cultural topic that people get uniquely passionate about — to the point that there are some who consider it “hacky” when writers use food as a shorthand for culture.\u003c/p>\n\u003cp>For Chinn, however, it’s for good reason that food evokes those kinds of primal feelings in people. “It’s something you engage with every day, more than literature or even music. It encompasses things about family and daily needs,” Chinn says. “In lieu of religion, people get very religious about food.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Colonialism Is Terrible, But Pho Is Delicious\u003ci> is in previews until Nov. 10 at the Aurora Theatre Company (2081 Addison St., Berkeley). The official opening night is Thursday, Nov. 10 at 8 p.m., and the play runs until Dec. 4. You can \u003c/i>\u003ca href=\"https://tickets.auroratheatre.org/TheatreManager/1/online?event=0\">\u003ci>buy tickets online\u003c/i>\u003c/a>\u003ci>. \u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13921333/colonialism-is-terrible-but-pho-is-delicious-is-a-play-about-food-and-ownership",
"authors": [
"11743"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_12276",
"arts_967"
],
"tags": [
"arts_1270",
"arts_10278",
"arts_19019",
"arts_3652",
"arts_1072",
"arts_585",
"arts_2473",
"arts_15126"
],
"featImg": "arts_13921335",
"label": "source_arts_13921333"
},
"arts_13921216": {
"type": "posts",
"id": "arts_13921216",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13921216",
"score": null,
"sort": [
1667502244000
]
},
"parent": 0,
"labelTerm": {},
"blocks": [],
"publishDate": 1667502244,
"format": "standard",
"title": "A Farewell to the Oakland Coliseum's Quirky, Lovable Hot Dog Vendor",
"headTitle": "A Farewell to the Oakland Coliseum’s Quirky, Lovable Hot Dog Vendor | KQED",
"content": "\u003cp>\u003cspan style=\"font-weight: 400\">The Oakland Athletics are used to the departure of big personalities: Reggie Jackson. Rickey Henderson. Barry Zito. Yoenis Cespedes.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Yet it’s not always the big-name players whom fans are saddest to see go.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Next season, \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13914585/hal-the-hot-dog-guy-oakland-coliseum-hella-hungry\">\u003cspan style=\"font-weight: 400\">Hal Gordon\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> — better known as “\u003c/span>\u003ca href=\"https://twitter.com/ashotdog\">\u003cspan style=\"font-weight: 400\">Hal the Hot Dog Guy\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">” — will not return as the stadium’s most well-known food vendor. Gordon \u003c/span>\u003ca href=\"https://twitter.com/AsHotDog/status/1585008321811320832\">\u003cspan style=\"font-weight: 400\">first shared the news on Twitter\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> to his loyal cadre of fans last week, announcing his decision to depart from the A’s after six seasons. As a graduate student in the process of earning his PhD in Economics at UC Berkeley, Gordon will transition away from the role that has brought him local fame and adoration: hawking hot dogs and being a friendly jokester.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Along with his well-known shticks, like shouting “Let’s ketchup!” in late innings whenever the A’s were losing, Gordon also cared for the fans and the city, often bringing \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13914585/hal-the-hot-dog-guy-oakland-coliseum-hella-hungry\">\u003cspan style=\"font-weight: 400\">his own array of extra condiments\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> that are otherwise unavailable at the Coliseum — such as jalapeño mustard and capers — and supporting local charities by donating a portion of his tips.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Since he’s working to complete his degree, Gordon had been hoping that the A’s would hire him long-term at closer to the salary that a PhD economist would make — \u003c/span>\u003ca href=\"https://twitter.com/AsHotDog/status/1585717211489935361\">\u003cspan style=\"font-weight: 400\">perhaps as the team’s in-house data scientist\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. But he knew it was a long shot.\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Creating this character and hearing people tell me I’ve become part of their experience [at the Coliseum] was just som\u003c/span>\u003cspan style=\"font-weight: 400\">ething that kept me going during grad school,” Gordon says. “I get it, I understand [the A’s] are in a tough spot. I was never an employee of the team. I’m the employee of a subcontractor. I’m sure the organization is more worried about keeping employees who have been there much longer than me. I gave my all and it just couldn’t be.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Fans have resorted to tweeting out their frustration, even asking A’s owner, Dave Kaval, to reconsider.\u003c/span>\u003c/p>\n\u003cp>https://twitter.com/MrChris80/status/1585721540506574848\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For those who have no connection to the Oakland A’s community, it may seem farcical to see fans getting so emotional about losing a food vendor. But if you’ve sat in the Coliseum, endured the recent onslaught of \u003c/span>\u003ca href=\"https://www.theguardian.com/sport/2022/aug/31/feral-cats-few-fans-and-lewd-acts-is-the-as-era-in-oakland-over\">\u003cspan style=\"font-weight: 400\">ridicule and scrutiny in the media\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> and ridden the rollercoaster of on-field disappointment that the Oakland A’s have embarrassingly served up, then you’d know how it feels to be losing out on a rare bright spot — even if it’s something as seemingly unremarkable as a fun-loving, community-focused hot dog server.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Gordon isn’t the first beloved doggie slinger to win the hearts of green and gold fans. In 2019, Jimmy Graff, whom Gordon praised as his mentor and inspiration, \u003c/span>\u003ca href=\"https://www.usatoday.com/story/sports/mlb/2019/12/29/giants-athletics-popular-hot-dog-vendor-jimmy-graff-dies-49/2769223001/\">\u003cspan style=\"font-weight: 400\">passed away at age 49\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, leaving the A’s community distraught. In his place, Gordon rose in popularity and proudly continued Graff’s legacy as a goofy, carefree and passionate vendor — even dressing up in an old-timey striped uniform that Graff created — at one of \u003c/span>\u003ca href=\"https://ballparkdigest.com/2022/06/02/we-knew-things-at-the-coliseum-were-bad-but-the-as-say-theyre-worse/\">\u003cspan style=\"font-weight: 400\">Major League Baseball’s notoriously “worst” venues\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Despite the many flaws inside East Oakland’s dilapidated baseball cathedral, it’s the diehard fans and workers like Gordon — as well as Graff and many others before them — who have kept the experience vibrant over the years. This season, in particular, \u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=WHZR75QjAIA\">\u003cspan style=\"font-weight: 400\">Gordon’s well-known love for hot dogs and pranks\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> has given attendees something to look forward to in an otherwise dismal campaign that ended with a last-place finish. By going beyond the call of duty to bring extra condiments on BART and creating his own chants, Gordon has gained the undying support of the Bay Area’s underdog baseball team — and those who call its stadium home.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I grew up at the Coliseum, so I’m familiar with hot dog vendors. When Hal came around, he was another one of those Coliseum charms. The position isn’t going away, but I will always remember those moments he gave us as a hawker with the A’s,” says Bryan Johansen. He’s the co-founder of \u003c/span>\u003ca href=\"https://lastdivebar.com/\">\u003cspan style=\"font-weight: 400\">Last Dive Bar\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, an online A’s apparel shop independently run by him and his two friends, Carl Moren and Paul Bailey, since 2019.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[pullquote size=\"large\" align=\"right\"]“Over time, Gordon’s Twitter feed has become a live photo gallery of real faces at the Coliseum. He is, quite literally, a man among the people.”[/pullquote]In 2020, Last Dive Bar teamed up with Gordon to create shirts with slogans like \u003c/span>\u003ca href=\"https://lastdivebar.com/products/gimme-an-a-tee\">\u003cspan style=\"font-weight: 400\">“Gimme an A!”\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> and “Hal’s My Pal” — all phrases popularized by Gordon and his fans during his tenure. Each tee is illustrated by \u003c/span>\u003ca href=\"https://twitter.com/AsFanByDesign\">\u003cspan style=\"font-weight: 400\">A’s Fan by Design\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, with proceeds going to the \u003c/span>\u003ca href=\"https://www.accfb.org/\">\u003cspan style=\"font-weight: 400\">Alameda County Community Food Bank\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“It’s all a reflection of your experiences [at the Coliseum],” Johansen says. “It’s about people’s connection to being a fan of their favorite team and their baseball stadium. Hal is a part of those aspects.”\u003c/span>\u003c/p>\n\u003cp>https://twitter.com/AsHotDog/status/1585433381122473984\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Gordon embodies a sense of organic community that is strong among A’s fans, who’ve arguably endured more suffering than any of the remaining Bay Area sports franchises. Over time, Gordon’s Twitter feed has become a live photo gallery of real faces at the Coliseum in a way that sports media would never be able to portray. He is, quite literally, a man among the people. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The \u003c/span>\u003ca href=\"https://www.foxnews.com/sports/athletics-likely-leave-oakland-las-vegas-mlb-commissioner-says\">\u003cspan style=\"font-weight: 400\">dramatic turmoil surrounding the future of the Oakland A’s\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> has allowed figures like Gordon to become even more noticeable. There’s a reason Gordon was embraced in Oakland and not, for instance, in San Francisco — where Gordon would occasionally vend as well.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“The blessing of being an A’s fan and working for the A’s is that there was so much room and oxygen to try new things and do new things,” he says. “I’ve gotten to know so many people there by name and by face, and have made so many friends. I know every single season ticket holder. That wouldn’t have been possible at almost any other stadium. It’s a blessing.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For Gordon, it’s about the friendships he’s made and the good memories he’s been a part of, especially during a time of negativity surrounding sports franchises in Oakland. It fueled him to do what he did during his time behind the proverbial food plate — especially when it came to younger fans.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[pullquote size=\"large\" align=\"right\" citation=\"Hal Gordon\"]“I know every single season ticket holder. That wouldn’t have been possible at almost any other stadium.”[/pullquote]“Hal created lasting moments for my son and for the future generation of fans,” says Johansen. “My son knows his name. He’s not super into baseball, but he remembers names: Ramón [Laureano], [Tony] Kemp, Hal. Hal took the time to make the moment special for him and other kids.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">One of the ways he has done that is by gifting homemade prank ketchup bottles that shoot out red string — another Gordon signature — to excitable young fans, including \u003c/span>\u003ca href=\"https://twitter.com/SandLot408/status/1585720636885696512\">\u003cspan style=\"font-weight: 400\">Johansen’s son\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. Gordon also gives away Hal the Hot Dog Guy trading cards, which kids and adults alike have been known to collect. (I have a few stashed away with my lifetime A’s memorabilia.)\u003c/span>\u003c/p>\n\u003cp>https://twitter.com/mushlederman/status/1587117212627742721\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">When the games were over and the lights turned off, Gordon was often one of the last workers to leave the Coliseum. Often, he could be found at community events throughout the East Bay, too.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“He helped organize a great Fan Fest earlier this year with the Oakland 68s,” \u003c/span>\u003ca href=\"https://twitter.com/AlexEspinozaIV/status/1587537588310589440\">\u003cspan style=\"font-weight: 400\">tweeted Alex Espinoza of 95.7 The Game\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. “Won’t be the same without him!”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[aside postID='arts_13914585,arts_13920345']Mike Delia — \u003ca href=\"https://www.sfmta.com/blog/transit-driver-appreciation-day-meet-mr-boston\">a San Francisco public transit operator\u003c/a> — credits Gordon as the inspiration behind him creating his own MUNI-themed baseball cards. \u003c/span>\u003cspan style=\"font-weight: 400\">Another fan started \u003c/span>\u003ca href=\"https://twitter.com/jstemily/status/1587536959248793600\">\u003cspan style=\"font-weight: 400\">an online petition to keep Gordon at the Coliseum\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> that has more than 250 signatures so far.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For every game of the A’s season, there’s a story about Gordon’s kindness or goofball antics to be told. Still, he knows the magic will remain, with or without his hot dogs.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“The most important part is that we were just having fun. Those of us at the stadium just had fun together,” says Gordon. “This East Bay community isn’t going anywhere. Those friendships, the people, the fandom — it’s bigger than the politics and whims of any one person.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Who can’t rally around that?\u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12904247 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003cem>A curated selection of photos were submitted by Oakland A’s fans in response to \u003ca href=\"https://twitter.com/alan_chazaro/status/1587502450436542464\">this Tweet\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13921226\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/hal-with-kid.jpg\" alt=\"Hot dog vendor in old-timey striped vest poses with a young A's fan.\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/hal-with-kid.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/hal-with-kid-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/hal-with-kid-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/hal-with-kid-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/hal-with-kid-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/hal-with-kid-1536x864.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13921225\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/hal-with-fans.jpg\" alt=\"Hot dog vendor holds a tray of condiments surrounded by smiling A's fans.\" width=\"1920\" height=\"1442\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/hal-with-fans.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/hal-with-fans-800x601.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/hal-with-fans-1020x766.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/hal-with-fans-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/hal-with-fans-768x577.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/hal-with-fans-1536x1154.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-13921227\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/hal-young-fan-800x1067.jpg\" alt=\"\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/hal-young-fan-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/hal-young-fan-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/hal-young-fan-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/hal-young-fan.jpg 900w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13921229\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/hal-feelmore.jpg\" alt='Man in a green \"Binding Vote Szn\" t-shirt poses with a woman in a black baseball cap.' width=\"1200\" height=\"1600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/hal-feelmore.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/hal-feelmore-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/hal-feelmore-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/hal-feelmore-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/hal-feelmore-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/hal-feelmore-1152x1536.jpg 1152w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13921231\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/hal-trading-card.jpg\" alt=\"Man holds up a Hal the Hot Dog Guy trading card while posing with the man himself at the stadium.\" width=\"900\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/hal-trading-card.jpg 900w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/hal-trading-card-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/hal-trading-card-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/hal-trading-card-768x1024.jpg 768w\" sizes=\"(max-width: 900px) 100vw, 900px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13921228\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/hal-cutouts.jpg\" alt=\"Hot dog vendor and a fan pose dramatically next to cardboard cutouts of themselves.\" width=\"1200\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/hal-cutouts.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/hal-cutouts-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/hal-cutouts-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/hal-cutouts-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/hal-cutouts-768x768.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13921230\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/hal-fresh-hot-dogs.jpg\" alt='Hot dog vendor and a fan shouting out at the stadium. The cart in front of the vendor reads, \"Fresh Hot Dogs.\"' width=\"900\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/hal-fresh-hot-dogs.jpg 900w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/hal-fresh-hot-dogs-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/hal-fresh-hot-dogs-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/hal-fresh-hot-dogs-768x1024.jpg 768w\" sizes=\"(max-width: 900px) 100vw, 900px\">\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1584,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 36
},
"modified": 1705006190,
"excerpt": "Hal the Hot Dog Guy won't return to the stadium next season.",
"headData": {
"twImgId": "",
"twTitle": "A Farewell to the Oakland Coliseum's Quirky, Lovable Hot Dog Vendor",
"socialTitle": "A Farewell to Hal the Hot Dog Guy %%page%% %%sep%% KQED",
"ogTitle": "A Farewell to the Oakland Coliseum's Quirky, Lovable Hot Dog Vendor",
"ogImgId": "",
"twDescription": "",
"description": "Hal the Hot Dog Guy won't return to the stadium next season.",
"title": "A Farewell to Hal the Hot Dog Guy | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "A Farewell to the Oakland Coliseum's Quirky, Lovable Hot Dog Vendor",
"datePublished": "2022-11-03T12:04:04-07:00",
"dateModified": "2024-01-11T12:49:50-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "hal-the-hot-dog-guy-oakland-coliseum-tribute-retiring",
"status": "publish",
"sourceUrl": "/food/",
"excludeFromSiteSearch": "Include",
"sticky": false,
"source": "Food",
"path": "/arts/13921216/hal-the-hot-dog-guy-oakland-coliseum-tribute-retiring",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">The Oakland Athletics are used to the departure of big personalities: Reggie Jackson. Rickey Henderson. Barry Zito. Yoenis Cespedes.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Yet it’s not always the big-name players whom fans are saddest to see go.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Next season, \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13914585/hal-the-hot-dog-guy-oakland-coliseum-hella-hungry\">\u003cspan style=\"font-weight: 400\">Hal Gordon\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> — better known as “\u003c/span>\u003ca href=\"https://twitter.com/ashotdog\">\u003cspan style=\"font-weight: 400\">Hal the Hot Dog Guy\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">” — will not return as the stadium’s most well-known food vendor. Gordon \u003c/span>\u003ca href=\"https://twitter.com/AsHotDog/status/1585008321811320832\">\u003cspan style=\"font-weight: 400\">first shared the news on Twitter\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> to his loyal cadre of fans last week, announcing his decision to depart from the A’s after six seasons. As a graduate student in the process of earning his PhD in Economics at UC Berkeley, Gordon will transition away from the role that has brought him local fame and adoration: hawking hot dogs and being a friendly jokester.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Along with his well-known shticks, like shouting “Let’s ketchup!” in late innings whenever the A’s were losing, Gordon also cared for the fans and the city, often bringing \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13914585/hal-the-hot-dog-guy-oakland-coliseum-hella-hungry\">\u003cspan style=\"font-weight: 400\">his own array of extra condiments\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> that are otherwise unavailable at the Coliseum — such as jalapeño mustard and capers — and supporting local charities by donating a portion of his tips.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Since he’s working to complete his degree, Gordon had been hoping that the A’s would hire him long-term at closer to the salary that a PhD economist would make — \u003c/span>\u003ca href=\"https://twitter.com/AsHotDog/status/1585717211489935361\">\u003cspan style=\"font-weight: 400\">perhaps as the team’s in-house data scientist\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. But he knew it was a long shot.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Creating this character and hearing people tell me I’ve become part of their experience [at the Coliseum] was just som\u003c/span>\u003cspan style=\"font-weight: 400\">ething that kept me going during grad school,” Gordon says. “I get it, I understand [the A’s] are in a tough spot. I was never an employee of the team. I’m the employee of a subcontractor. I’m sure the organization is more worried about keeping employees who have been there much longer than me. I gave my all and it just couldn’t be.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Fans have resorted to tweeting out their frustration, even asking A’s owner, Dave Kaval, to reconsider.\u003c/span>\u003c/p>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "singleTwitterStatus",
"attributes": {
"named": {
"id": "1585721540506574848"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>\u003cspan style=\"font-weight: 400\">For those who have no connection to the Oakland A’s community, it may seem farcical to see fans getting so emotional about losing a food vendor. But if you’ve sat in the Coliseum, endured the recent onslaught of \u003c/span>\u003ca href=\"https://www.theguardian.com/sport/2022/aug/31/feral-cats-few-fans-and-lewd-acts-is-the-as-era-in-oakland-over\">\u003cspan style=\"font-weight: 400\">ridicule and scrutiny in the media\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> and ridden the rollercoaster of on-field disappointment that the Oakland A’s have embarrassingly served up, then you’d know how it feels to be losing out on a rare bright spot — even if it’s something as seemingly unremarkable as a fun-loving, community-focused hot dog server.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Gordon isn’t the first beloved doggie slinger to win the hearts of green and gold fans. In 2019, Jimmy Graff, whom Gordon praised as his mentor and inspiration, \u003c/span>\u003ca href=\"https://www.usatoday.com/story/sports/mlb/2019/12/29/giants-athletics-popular-hot-dog-vendor-jimmy-graff-dies-49/2769223001/\">\u003cspan style=\"font-weight: 400\">passed away at age 49\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, leaving the A’s community distraught. In his place, Gordon rose in popularity and proudly continued Graff’s legacy as a goofy, carefree and passionate vendor — even dressing up in an old-timey striped uniform that Graff created — at one of \u003c/span>\u003ca href=\"https://ballparkdigest.com/2022/06/02/we-knew-things-at-the-coliseum-were-bad-but-the-as-say-theyre-worse/\">\u003cspan style=\"font-weight: 400\">Major League Baseball’s notoriously “worst” venues\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Despite the many flaws inside East Oakland’s dilapidated baseball cathedral, it’s the diehard fans and workers like Gordon — as well as Graff and many others before them — who have kept the experience vibrant over the years. This season, in particular, \u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=WHZR75QjAIA\">\u003cspan style=\"font-weight: 400\">Gordon’s well-known love for hot dogs and pranks\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> has given attendees something to look forward to in an otherwise dismal campaign that ended with a last-place finish. By going beyond the call of duty to bring extra condiments on BART and creating his own chants, Gordon has gained the undying support of the Bay Area’s underdog baseball team — and those who call its stadium home.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I grew up at the Coliseum, so I’m familiar with hot dog vendors. When Hal came around, he was another one of those Coliseum charms. The position isn’t going away, but I will always remember those moments he gave us as a hawker with the A’s,” says Bryan Johansen. He’s the co-founder of \u003c/span>\u003ca href=\"https://lastdivebar.com/\">\u003cspan style=\"font-weight: 400\">Last Dive Bar\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, an online A’s apparel shop independently run by him and his two friends, Carl Moren and Paul Bailey, since 2019.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "“Over time, Gordon’s Twitter feed has become a live photo gallery of real faces at the Coliseum. He is, quite literally, a man among the people.”",
"name": "pullquote",
"attributes": {
"named": {
"size": "large",
"align": "right",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>In 2020, Last Dive Bar teamed up with Gordon to create shirts with slogans like \u003c/span>\u003ca href=\"https://lastdivebar.com/products/gimme-an-a-tee\">\u003cspan style=\"font-weight: 400\">“Gimme an A!”\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> and “Hal’s My Pal” — all phrases popularized by Gordon and his fans during his tenure. Each tee is illustrated by \u003c/span>\u003ca href=\"https://twitter.com/AsFanByDesign\">\u003cspan style=\"font-weight: 400\">A’s Fan by Design\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, with proceeds going to the \u003c/span>\u003ca href=\"https://www.accfb.org/\">\u003cspan style=\"font-weight: 400\">Alameda County Community Food Bank\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“It’s all a reflection of your experiences [at the Coliseum],” Johansen says. “It’s about people’s connection to being a fan of their favorite team and their baseball stadium. Hal is a part of those aspects.”\u003c/span>\u003c/p>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "singleTwitterStatus",
"attributes": {
"named": {
"id": "1585433381122473984"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>\u003cspan style=\"font-weight: 400\">Gordon embodies a sense of organic community that is strong among A’s fans, who’ve arguably endured more suffering than any of the remaining Bay Area sports franchises. Over time, Gordon’s Twitter feed has become a live photo gallery of real faces at the Coliseum in a way that sports media would never be able to portray. He is, quite literally, a man among the people. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The \u003c/span>\u003ca href=\"https://www.foxnews.com/sports/athletics-likely-leave-oakland-las-vegas-mlb-commissioner-says\">\u003cspan style=\"font-weight: 400\">dramatic turmoil surrounding the future of the Oakland A’s\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> has allowed figures like Gordon to become even more noticeable. There’s a reason Gordon was embraced in Oakland and not, for instance, in San Francisco — where Gordon would occasionally vend as well.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“The blessing of being an A’s fan and working for the A’s is that there was so much room and oxygen to try new things and do new things,” he says. “I’ve gotten to know so many people there by name and by face, and have made so many friends. I know every single season ticket holder. That wouldn’t have been possible at almost any other stadium. It’s a blessing.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For Gordon, it’s about the friendships he’s made and the good memories he’s been a part of, especially during a time of negativity surrounding sports franchises in Oakland. It fueled him to do what he did during his time behind the proverbial food plate — especially when it came to younger fans.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "“I know every single season ticket holder. That wouldn’t have been possible at almost any other stadium.”",
"name": "pullquote",
"attributes": {
"named": {
"size": "large",
"align": "right",
"citation": "Hal Gordon",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>“Hal created lasting moments for my son and for the future generation of fans,” says Johansen. “My son knows his name. He’s not super into baseball, but he remembers names: Ramón [Laureano], [Tony] Kemp, Hal. Hal took the time to make the moment special for him and other kids.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">One of the ways he has done that is by gifting homemade prank ketchup bottles that shoot out red string — another Gordon signature — to excitable young fans, including \u003c/span>\u003ca href=\"https://twitter.com/SandLot408/status/1585720636885696512\">\u003cspan style=\"font-weight: 400\">Johansen’s son\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. Gordon also gives away Hal the Hot Dog Guy trading cards, which kids and adults alike have been known to collect. (I have a few stashed away with my lifetime A’s memorabilia.)\u003c/span>\u003c/p>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "singleTwitterStatus",
"attributes": {
"named": {
"id": "1587117212627742721"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>\u003cspan style=\"font-weight: 400\">When the games were over and the lights turned off, Gordon was often one of the last workers to leave the Coliseum. Often, he could be found at community events throughout the East Bay, too.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“He helped organize a great Fan Fest earlier this year with the Oakland 68s,” \u003c/span>\u003ca href=\"https://twitter.com/AlexEspinozaIV/status/1587537588310589440\">\u003cspan style=\"font-weight: 400\">tweeted Alex Espinoza of 95.7 The Game\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. “Won’t be the same without him!”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13914585,arts_13920345",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Mike Delia — \u003ca href=\"https://www.sfmta.com/blog/transit-driver-appreciation-day-meet-mr-boston\">a San Francisco public transit operator\u003c/a> — credits Gordon as the inspiration behind him creating his own MUNI-themed baseball cards. \u003c/span>\u003cspan style=\"font-weight: 400\">Another fan started \u003c/span>\u003ca href=\"https://twitter.com/jstemily/status/1587536959248793600\">\u003cspan style=\"font-weight: 400\">an online petition to keep Gordon at the Coliseum\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> that has more than 250 signatures so far.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For every game of the A’s season, there’s a story about Gordon’s kindness or goofball antics to be told. Still, he knows the magic will remain, with or without his hot dogs.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“The most important part is that we were just having fun. Those of us at the stadium just had fun together,” says Gordon. “This East Bay community isn’t going anywhere. Those friendships, the people, the fandom — it’s bigger than the politics and whims of any one person.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Who can’t rally around that?\u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12904247 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003cem>A curated selection of photos were submitted by Oakland A’s fans in response to \u003ca href=\"https://twitter.com/alan_chazaro/status/1587502450436542464\">this Tweet\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13921226\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/hal-with-kid.jpg\" alt=\"Hot dog vendor in old-timey striped vest poses with a young A's fan.\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/hal-with-kid.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/hal-with-kid-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/hal-with-kid-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/hal-with-kid-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/hal-with-kid-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/hal-with-kid-1536x864.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13921225\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/hal-with-fans.jpg\" alt=\"Hot dog vendor holds a tray of condiments surrounded by smiling A's fans.\" width=\"1920\" height=\"1442\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/hal-with-fans.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/hal-with-fans-800x601.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/hal-with-fans-1020x766.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/hal-with-fans-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/hal-with-fans-768x577.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/hal-with-fans-1536x1154.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-13921227\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/hal-young-fan-800x1067.jpg\" alt=\"\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/hal-young-fan-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/hal-young-fan-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/hal-young-fan-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/hal-young-fan.jpg 900w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13921229\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/hal-feelmore.jpg\" alt='Man in a green \"Binding Vote Szn\" t-shirt poses with a woman in a black baseball cap.' width=\"1200\" height=\"1600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/hal-feelmore.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/hal-feelmore-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/hal-feelmore-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/hal-feelmore-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/hal-feelmore-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/hal-feelmore-1152x1536.jpg 1152w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13921231\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/hal-trading-card.jpg\" alt=\"Man holds up a Hal the Hot Dog Guy trading card while posing with the man himself at the stadium.\" width=\"900\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/hal-trading-card.jpg 900w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/hal-trading-card-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/hal-trading-card-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/hal-trading-card-768x1024.jpg 768w\" sizes=\"(max-width: 900px) 100vw, 900px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13921228\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/hal-cutouts.jpg\" alt=\"Hot dog vendor and a fan pose dramatically next to cardboard cutouts of themselves.\" width=\"1200\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/hal-cutouts.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/hal-cutouts-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/hal-cutouts-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/hal-cutouts-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/hal-cutouts-768x768.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13921230\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/hal-fresh-hot-dogs.jpg\" alt='Hot dog vendor and a fan shouting out at the stadium. The cart in front of the vendor reads, \"Fresh Hot Dogs.\"' width=\"900\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/hal-fresh-hot-dogs.jpg 900w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/hal-fresh-hot-dogs-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/hal-fresh-hot-dogs-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/hal-fresh-hot-dogs-768x1024.jpg 768w\" sizes=\"(max-width: 900px) 100vw, 900px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13921216/hal-the-hot-dog-guy-oakland-coliseum-tribute-retiring",
"authors": [
"11748"
],
"categories": [
"arts_1",
"arts_12276",
"arts_13238"
],
"tags": [
"arts_10092",
"arts_1270",
"arts_10278",
"arts_1297",
"arts_1551",
"arts_5489",
"arts_4506"
],
"featImg": "arts_13921224",
"label": "source_arts_13921216"
},
"arts_13920367": {
"type": "posts",
"id": "arts_13920367",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13920367",
"score": null,
"sort": [
1666018828000
]
},
"guestAuthors": [],
"slug": "joe-kapp-toughest-chicano-salinas",
"title": "Honoring ‘The Toughest Chicano’: Joe Kapp’s Legacy in Salinas and Beyond",
"publishDate": 1666018828,
"format": "standard",
"headTitle": "Honoring ‘The Toughest Chicano’: Joe Kapp’s Legacy in Salinas and Beyond | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>Paul Renteria was an 11-year-old kid growing up outside of East Los Angeles when \u003cem>Sports Illustrated\u003c/em> published its 1970 cover story on Minnesota Vikings quarterback Joe Kapp.\u003c/p>\n\u003cp>“I hated Joe Kapp because he kicked the LA Rams’ ass every year,” Renteria recalls of that summer. “[But] then it came out in \u003cem>Sports Illustrated\u003c/em> that he was Chicano.”\u003c/p>\n\u003cp>Kapp had led Minnesota to the Super Bowl earlier that year. But the jarring headline, “The Toughest Chicano,” drew from Kapp’s earlier days in the Alisal neighborhood of East Salinas, playing catch using heads of lettuce with lifelong friend Everett Alvarez in fields near their elementary school.\u003c/p>\n\u003cp>For young Renteria, whose grandfather fought in the Mexican Revolution and later became a movie cowboy, the professional quarterback’s Latino heritage was a source of pride. And it meant something to Renteria that Kapp, like him, had grown up in a migrant neighborhood.\u003c/p>\n\u003cfigure id=\"attachment_13920376\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/SI.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13920376\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/SI.jpg\" alt=\"a blue magazine cover with a football player with black hair in a purple jersey, and the words 'The Toughest Chicano,' Viking Quarterback Joe Kapp\" width=\"800\" height=\"1074\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/SI.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/SI-160x215.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/SI-768x1031.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A ‘Sports Illustrated’ magazine cover from 1970 featured Joe Kapp with the headline ‘The Toughest Chicano.’ \u003ccite>(Sports Illustrated Vault)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Just 40 days after the Kapp cover story, \u003cem>Los Angeles Times\u003c/em> columnist Ruben Salazar was killed at Laguna Park in East Los Angeles — where Renteria played Pop Warner football each summer — while covering a National Chicano Moratorium march in protest of the Vietnam War. Salazar was struck by a tear-gas projectile fired by a Los Angeles sheriff’s officer.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I was scared of the violence in East L.A.,” Renteria recalls. Laguna Park, which later in 1970 was renamed Ruben Salazar Park, had gangs that surrounded the athletic fields and schoolyards.\u003c/p>\n\u003cp>“When I’d go to football practice, there were 100 cholos out there,” Renteria said. “Joe inspired me because he ran over people. So I ran over people. On the field I could handle my own, and the cholos weren’t tough anymore. Joe inspired me, just by his style of play.”\u003c/p>\n\u003ch2>‘These stories are important to working-class kids’\u003c/h2>\n\u003cp>Renteria is now a California railway surveyor and actor (he starred in \u003ca href=\"https://www.youtube.com/watch?v=QcG9Cyhyj6U\">Miller Lite’s “Man Law” commercials\u003c/a>, after lobbying beer companies to hire Latino actors). He was planning a trip to Sacramento for a railway meeting when he learned Kapp was to be honored at El Sausal Middle School in East Salinas, with the athletic field named in his honor. Instead of driving home to Los Angeles, Renteria detoured to the coastal city, sometimes called “The Salad Bowl” for its agriculture.\u003c/p>\n\u003cp>Ignacio Ornelas Rodriguez, a Stanford historian also from Salinas, organized the Sept. 29 celebration to honor a quarterback whose unique throwing style — Kapp didn’t grip the laces — and wobbly passes date to his lettuce-throwing days in Alisal. Kapp is the only quarterback to play in the Rose Bowl (with UC Berkeley), Super Bowl and Grey Cup (Canadian football’s title game). He’s one of eight NFL quarterbacks to throw seven touchdowns in a game, and was Cal’s coach for the miraculous last-second victory over Stanford known simply as “\u003ca href=\"https://www.youtube.com/watch?v=HG_afqO0fC4\" rel=\"noopener noreferrer\" target=\"_blank\">The Play\u003c/a>.”\u003c/p>\n\u003cp>“These stories are important to working-class and immigrant kids,” said Rodriguez, who attended El Sausal and lived in East Salinas after his family immigrated from Jalisco, Mexico, when he was 4. “When you’re living in poverty, it’s tough to have a sense of hope. Then you hear Joe’s story, and you’re like ‘Whoa!’ His story resonated with me.”\u003c/p>\n\u003cfigure id=\"attachment_13920379\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/IMG_4068.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13920379\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/IMG_4068-800x600.jpeg\" alt=\"four men pose for a photo outside a school, with one in a black cowboy hat in a wheelchair\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/IMG_4068-800x600.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/IMG_4068-1020x765.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/IMG_4068-160x120.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/IMG_4068-768x576.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/IMG_4068-1536x1152.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/IMG_4068-1920x1440.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/IMG_4068.jpeg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Paul Renteria, right, stands next to Joe Kapp, his childhood football hero. \u003ccite>(Nick Lozito)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the celebration, surrounded by family, Kapp entered El Sausal’s gates in a wheelchair. Now 84, “The Toughest Chicano” is battling Alzheimer’s that is believed to be brought on by football collisions. He has retained his sense of humor, though, and lets out a playful cry when shaking hands.\u003c/p>\n\u003cp>That sense of playfulness is part of what got him in trouble during a Canadian Football League banquet in 2011 when, at age 73, Kapp approached former on-field rival (and professional wrestler) Angelo Mosca with flowers as a peace offering. Mosca swatted Kapp in the head with his cane. Kapp hit Mosca with a right cross, knocking him off the stage, and kicked him in the rear. The video went viral.\u003c/p>\n\u003cp>The El Sausal ceremony was more civil, though Kapp couldn’t resist a joke when a school board member took the stage in a red suit. “I don’t know if I can do this because you’re wearing red,” Kapp called out from the front row, turning to the crowd. “Stanford. Ever heard of them?”\u003c/p>\n\u003ch2>The California dream\u003c/h2>\n\u003cp>Kapp was born March 19, 1938, to Florencia Eufracia Garcia, a Mexican-American coffee shop waitress — whom Joe calls “The Toughest Chicana” in his 2020 autobiography, \u003cem>Joe Kapp: The Toughest Chicano\u003c/em> — and Robert Douglas Kapp, a blonde German immigrant who battled alcoholism. The family moved from New Mexico to Southern California when Joe was in kindergarten, and then to East Salinas when he was in the fourth grade. Robert’s fluent Spanish helped in selling cookware door-to-door in neighborhoods of migrant workers.\u003c/p>\n\u003cfigure id=\"attachment_13920380\" class=\"wp-caption aligncenter\" style=\"max-width: 500px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/f788c6c5-c8d4-4685-9b71-e80d67a8aa4f.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13920380\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/f788c6c5-c8d4-4685-9b71-e80d67a8aa4f.jpg\" alt=\"a black and white photo of a Latina woman holding a baby outside a brick home\" width=\"500\" height=\"704\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/f788c6c5-c8d4-4685-9b71-e80d67a8aa4f.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/f788c6c5-c8d4-4685-9b71-e80d67a8aa4f-160x225.jpg 160w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Joe Kapp with his mother, Florencia Eufracia Garcia, at his childhood home in Santa Fe, New Mexico. \u003ccite>(Courtesy of the Kapp family)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Salinas was kind of a sanctuary city for migrants, and the Kapps are one of those families,” said Rodriguez, who, with the Stanford Program of International and Cross-Cultural Education, has created a lesson plan based around Kapp’s legacy. “They moved to California to flee the Great Depression. They go to find the California dream, and they find work in Salinas.”\u003c/p>\n\u003cp>Kapp and Alvarez were part of the first class to attend El Sausal Middle School, with Kapp living across the street from the campus in a housing project of converted military barracks. Alvarez was blocks away, but Kapp joked he had “the gated community.” Joe played for hours on the El Sausal basketball courts.\u003c/p>\n\u003cfigure id=\"attachment_13920388\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/joe-w-fam.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13920388\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/joe-w-fam-800x1067.jpg\" alt=\"three kids in a black and white photo\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/joe-w-fam-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/joe-w-fam-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/joe-w-fam-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/joe-w-fam-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/joe-w-fam-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/joe-w-fam.jpg 1512w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Joe Kapp, middle, with brother Larry and sister Joanie in Salinas circa 1947-48. \u003ccite>(Courtesy of the Kapp family)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“In general, racial tension was not an obvious problem, but there were two distinct groups — Okies and Latinos,” Kapp wrote of Alisal in his autobiography. “I was Mexican and German. With my name and appearance, I was identified as more of a gringo than a Latino. But what you looked like didn’t matter to me — I cared about what type of person you were, and especially what kind of teammate you were.”\u003c/p>\n\u003cp>Alvarez, among the speakers at the El Sausal ceremony, told the crowd about how he and Joe “fell in love” with seventh-grade teacher Palmina Brunelli. Ms. Brunelli, now 94, answered questions from Salinas TV reporter Felix Cortez. She recalled taking Everett and Joe to the UC Berkeley campus, where Everett was blown away by the academics — and Joe by Memorial Stadium.\u003c/p>\n\u003cfigure id=\"attachment_13920390\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/MAC_0214-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13920390\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/MAC_0214-800x535.jpg\" alt=\"an older man in a suit laughs with an older woman in a purple and light blue top\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/MAC_0214-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/MAC_0214-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/MAC_0214-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/MAC_0214-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/MAC_0214-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/MAC_0214-2048x1369.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/MAC_0214-1920x1283.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Everett Alvarez, a lifelong friend of Joe Kapp, with former El Sausal teacher Palmina Brunelli. \u003ccite>(Courtesy of Salinas Union High School District)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After Joe’s sophomore year at Salinas High, the Kapps returned to Southern California. Joe reunited with Everett in Berkeley years later — Kapp as a Cal quarterback and Alvarez visiting from Santa Clara University. Before Cal football dinners, Alvarez told the audience, Kapp would hide his former classmate between Cal teammates and into the cafeteria. A quarterback sneak.\u003c/p>\n\u003cp>Kapp was recruited to play football for one legendary Cal coach, Pappy Waldorf, and given a scholarship to play basketball for another, Pete Newell. As a junior quarterback playing for new coach Pete Elliott, Kapp led Cal to the 1958 Rose Bowl (the loss to Iowa remains Cal’s most recent Rose Bowl berth). On the basketball court, Kapp played tough defense as a reserve.\u003c/p>\n\u003cp>After being selected in the NFL draft, Kapp instead signed with the Canadian Football League. Following a 1961 trade from Calgary, Kapp led the BC Lions to the 1964 Grey Cup title.\u003c/p>\n\u003cp>Alvarez enlisted in the Navy and, in 1964, became the first American serving in Vietnam to be shot down and detained as a prisoner of war. He was held captive for nine years, and for his service was awarded two Purple Hearts. A Salinas high school is named in his honor.\u003c/p>\n\u003cfigure id=\"attachment_13920389\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/GettyImages-107339470.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13920389\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/GettyImages-107339470-800x540.jpg\" alt=\"\" width=\"800\" height=\"540\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/GettyImages-107339470-800x540.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/GettyImages-107339470-1020x688.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/GettyImages-107339470-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/GettyImages-107339470-768x518.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/GettyImages-107339470.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Joe Kapp, #11 on the Boston Patriots, throws a pass against the New York Jets during an NFL game at Shea Stadium on Nov. 22, 1970. \u003ccite>(Focus on Sport/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 1967, Kapp signed with the Vikings and, in 1968, he gained a reputation for his rugged play and leadership as the team earned its first postseason berth. In 1969, Kapp finished second in MVP voting, threw 19 touchdowns and led Minnesota to the Super Bowl, a loss to Kansas City.\u003c/p>\n\u003cp>It would be his last game with Minnesota.\u003c/p>\n\u003cp>Months after the Sports Illustrated cover story was published, Kapp signed a record four-year contract with the Boston Patriots, who were coming off a poor season. The team went 2-12 with Kapp. When Boston asked Kapp to sign a standard contract the following season, he refused. Kapp never played another NFL game. In 1974, he won a summary judgment against the NFL, citing restraint of trade, but never received compensation for damages.\u003c/p>\n\u003ch2>‘The Bear will not quit’\u003c/h2>\n\u003cp>Kapp took up acting for a few years, but couldn’t stay away from football for long: he returned to Cal as football coach in 1982. In his first game against rival Stanford, The Big Game, Cal used a series of laterals that culminated in a last-second, game-winning touchdown and toppled over a Stanford trombone player in the process. Kapp coached Cal through 1986, when the team finished with a 2-9 record but pulled off an upset of rival Stanford in Kapp’s final game.\u003c/p>\n\u003cp>“The Bear will not quit, the Bear will not die,” Kapp said, in what has become something of a \u003ca href=\"https://twitter.com/calfootball/status/1565823267251707904?lang=en\">catchphrase for the team\u003c/a>.\u003c/p>\n\u003cp>Kapp later became a general manager in the Canadian Football League and a coach in the Arena Football League before retiring. He now lives in Los Gatos.\u003c/p>\n\u003cfigure id=\"attachment_13920391\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/MAC_0253-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13920391\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/MAC_0253-800x535.jpg\" alt=\"a group of people pose in front of a sign that reads 'Joe Kapp Field' 'The Toughest Chicano'\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/MAC_0253-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/MAC_0253-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/MAC_0253-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/MAC_0253-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/MAC_0253-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/MAC_0253-2048x1369.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/MAC_0253-1920x1283.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Joe Kapp, center, surrounded by friends and family at the dedication of Joe Kapp Field. \u003ccite>(Courtesy of Salinas Union High School District)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At El Sausal, a nervous Vikings fan — perhaps he saw the viral CFL video — eagerly waited to give Kapp a personalized hat. After the final speaker, a collection of fans, family, friends and media swarmed Kapp as his daughters, Emiliana and Gabriela, helped organize autographs.\u003c/p>\n\u003cp>At about this time, the bell rang and dozens more students surrounded Kapp, who had ditched his wheelchair and walked to the newly unveiled athletic field sign, designed by daughter Emiliana and Julio Gil of Central Coast Sign and Design. It reads “JOE KAPP FIELD,” along with “The Toughest Chicano,” and features an illustration of Kapp’s signature snarl under a single-bar facemask.\u003c/p>\n\u003cp>Then Kapp walked to a 1965 Buick Wildcat lowrider, driven by Debbie Martin of Lady Lowriders United. Kapp grimaced as he dipped into a sunken passenger seat, and the car drove away as students gave chase and “La Cucaracha” blared from the speakers at Joe Kapp Field.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=V0jgI2ff9WU\u003c/p>\n\n",
"blocks": [],
"excerpt": "In 2022, the famed football coach and Super Bowl champ helped unveil 'Joe Kapp Field' to an avid crowd.",
"status": "publish",
"parent": 0,
"modified": 1726759245,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 33,
"wordCount": 1958
},
"headData": {
"title": "Honoring ‘The Toughest Chicano’: Joe Kapp’s Legacy in Salinas and Beyond | KQED",
"description": "In 2022, the famed football coach and Super Bowl champ helped unveil 'Joe Kapp Field' to an avid crowd.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Honoring ‘The Toughest Chicano’: Joe Kapp’s Legacy in Salinas and Beyond",
"datePublished": "2022-10-17T08:00:28-07:00",
"dateModified": "2024-09-19T08:20:45-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprByline": "Nick Lozito",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"path": "/arts/13920367/joe-kapp-toughest-chicano-salinas",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Paul Renteria was an 11-year-old kid growing up outside of East Los Angeles when \u003cem>Sports Illustrated\u003c/em> published its 1970 cover story on Minnesota Vikings quarterback Joe Kapp.\u003c/p>\n\u003cp>“I hated Joe Kapp because he kicked the LA Rams’ ass every year,” Renteria recalls of that summer. “[But] then it came out in \u003cem>Sports Illustrated\u003c/em> that he was Chicano.”\u003c/p>\n\u003cp>Kapp had led Minnesota to the Super Bowl earlier that year. But the jarring headline, “The Toughest Chicano,” drew from Kapp’s earlier days in the Alisal neighborhood of East Salinas, playing catch using heads of lettuce with lifelong friend Everett Alvarez in fields near their elementary school.\u003c/p>\n\u003cp>For young Renteria, whose grandfather fought in the Mexican Revolution and later became a movie cowboy, the professional quarterback’s Latino heritage was a source of pride. And it meant something to Renteria that Kapp, like him, had grown up in a migrant neighborhood.\u003c/p>\n\u003cfigure id=\"attachment_13920376\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/SI.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13920376\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/SI.jpg\" alt=\"a blue magazine cover with a football player with black hair in a purple jersey, and the words 'The Toughest Chicano,' Viking Quarterback Joe Kapp\" width=\"800\" height=\"1074\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/SI.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/SI-160x215.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/SI-768x1031.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A ‘Sports Illustrated’ magazine cover from 1970 featured Joe Kapp with the headline ‘The Toughest Chicano.’ \u003ccite>(Sports Illustrated Vault)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Just 40 days after the Kapp cover story, \u003cem>Los Angeles Times\u003c/em> columnist Ruben Salazar was killed at Laguna Park in East Los Angeles — where Renteria played Pop Warner football each summer — while covering a National Chicano Moratorium march in protest of the Vietnam War. Salazar was struck by a tear-gas projectile fired by a Los Angeles sheriff’s officer.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I was scared of the violence in East L.A.,” Renteria recalls. Laguna Park, which later in 1970 was renamed Ruben Salazar Park, had gangs that surrounded the athletic fields and schoolyards.\u003c/p>\n\u003cp>“When I’d go to football practice, there were 100 cholos out there,” Renteria said. “Joe inspired me because he ran over people. So I ran over people. On the field I could handle my own, and the cholos weren’t tough anymore. Joe inspired me, just by his style of play.”\u003c/p>\n\u003ch2>‘These stories are important to working-class kids’\u003c/h2>\n\u003cp>Renteria is now a California railway surveyor and actor (he starred in \u003ca href=\"https://www.youtube.com/watch?v=QcG9Cyhyj6U\">Miller Lite’s “Man Law” commercials\u003c/a>, after lobbying beer companies to hire Latino actors). He was planning a trip to Sacramento for a railway meeting when he learned Kapp was to be honored at El Sausal Middle School in East Salinas, with the athletic field named in his honor. Instead of driving home to Los Angeles, Renteria detoured to the coastal city, sometimes called “The Salad Bowl” for its agriculture.\u003c/p>\n\u003cp>Ignacio Ornelas Rodriguez, a Stanford historian also from Salinas, organized the Sept. 29 celebration to honor a quarterback whose unique throwing style — Kapp didn’t grip the laces — and wobbly passes date to his lettuce-throwing days in Alisal. Kapp is the only quarterback to play in the Rose Bowl (with UC Berkeley), Super Bowl and Grey Cup (Canadian football’s title game). He’s one of eight NFL quarterbacks to throw seven touchdowns in a game, and was Cal’s coach for the miraculous last-second victory over Stanford known simply as “\u003ca href=\"https://www.youtube.com/watch?v=HG_afqO0fC4\" rel=\"noopener noreferrer\" target=\"_blank\">The Play\u003c/a>.”\u003c/p>\n\u003cp>“These stories are important to working-class and immigrant kids,” said Rodriguez, who attended El Sausal and lived in East Salinas after his family immigrated from Jalisco, Mexico, when he was 4. “When you’re living in poverty, it’s tough to have a sense of hope. Then you hear Joe’s story, and you’re like ‘Whoa!’ His story resonated with me.”\u003c/p>\n\u003cfigure id=\"attachment_13920379\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/IMG_4068.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13920379\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/IMG_4068-800x600.jpeg\" alt=\"four men pose for a photo outside a school, with one in a black cowboy hat in a wheelchair\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/IMG_4068-800x600.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/IMG_4068-1020x765.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/IMG_4068-160x120.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/IMG_4068-768x576.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/IMG_4068-1536x1152.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/IMG_4068-1920x1440.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/IMG_4068.jpeg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Paul Renteria, right, stands next to Joe Kapp, his childhood football hero. \u003ccite>(Nick Lozito)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the celebration, surrounded by family, Kapp entered El Sausal’s gates in a wheelchair. Now 84, “The Toughest Chicano” is battling Alzheimer’s that is believed to be brought on by football collisions. He has retained his sense of humor, though, and lets out a playful cry when shaking hands.\u003c/p>\n\u003cp>That sense of playfulness is part of what got him in trouble during a Canadian Football League banquet in 2011 when, at age 73, Kapp approached former on-field rival (and professional wrestler) Angelo Mosca with flowers as a peace offering. Mosca swatted Kapp in the head with his cane. Kapp hit Mosca with a right cross, knocking him off the stage, and kicked him in the rear. The video went viral.\u003c/p>\n\u003cp>The El Sausal ceremony was more civil, though Kapp couldn’t resist a joke when a school board member took the stage in a red suit. “I don’t know if I can do this because you’re wearing red,” Kapp called out from the front row, turning to the crowd. “Stanford. Ever heard of them?”\u003c/p>\n\u003ch2>The California dream\u003c/h2>\n\u003cp>Kapp was born March 19, 1938, to Florencia Eufracia Garcia, a Mexican-American coffee shop waitress — whom Joe calls “The Toughest Chicana” in his 2020 autobiography, \u003cem>Joe Kapp: The Toughest Chicano\u003c/em> — and Robert Douglas Kapp, a blonde German immigrant who battled alcoholism. The family moved from New Mexico to Southern California when Joe was in kindergarten, and then to East Salinas when he was in the fourth grade. Robert’s fluent Spanish helped in selling cookware door-to-door in neighborhoods of migrant workers.\u003c/p>\n\u003cfigure id=\"attachment_13920380\" class=\"wp-caption aligncenter\" style=\"max-width: 500px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/f788c6c5-c8d4-4685-9b71-e80d67a8aa4f.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13920380\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/f788c6c5-c8d4-4685-9b71-e80d67a8aa4f.jpg\" alt=\"a black and white photo of a Latina woman holding a baby outside a brick home\" width=\"500\" height=\"704\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/f788c6c5-c8d4-4685-9b71-e80d67a8aa4f.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/f788c6c5-c8d4-4685-9b71-e80d67a8aa4f-160x225.jpg 160w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Joe Kapp with his mother, Florencia Eufracia Garcia, at his childhood home in Santa Fe, New Mexico. \u003ccite>(Courtesy of the Kapp family)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Salinas was kind of a sanctuary city for migrants, and the Kapps are one of those families,” said Rodriguez, who, with the Stanford Program of International and Cross-Cultural Education, has created a lesson plan based around Kapp’s legacy. “They moved to California to flee the Great Depression. They go to find the California dream, and they find work in Salinas.”\u003c/p>\n\u003cp>Kapp and Alvarez were part of the first class to attend El Sausal Middle School, with Kapp living across the street from the campus in a housing project of converted military barracks. Alvarez was blocks away, but Kapp joked he had “the gated community.” Joe played for hours on the El Sausal basketball courts.\u003c/p>\n\u003cfigure id=\"attachment_13920388\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/joe-w-fam.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13920388\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/joe-w-fam-800x1067.jpg\" alt=\"three kids in a black and white photo\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/joe-w-fam-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/joe-w-fam-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/joe-w-fam-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/joe-w-fam-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/joe-w-fam-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/joe-w-fam.jpg 1512w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Joe Kapp, middle, with brother Larry and sister Joanie in Salinas circa 1947-48. \u003ccite>(Courtesy of the Kapp family)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“In general, racial tension was not an obvious problem, but there were two distinct groups — Okies and Latinos,” Kapp wrote of Alisal in his autobiography. “I was Mexican and German. With my name and appearance, I was identified as more of a gringo than a Latino. But what you looked like didn’t matter to me — I cared about what type of person you were, and especially what kind of teammate you were.”\u003c/p>\n\u003cp>Alvarez, among the speakers at the El Sausal ceremony, told the crowd about how he and Joe “fell in love” with seventh-grade teacher Palmina Brunelli. Ms. Brunelli, now 94, answered questions from Salinas TV reporter Felix Cortez. She recalled taking Everett and Joe to the UC Berkeley campus, where Everett was blown away by the academics — and Joe by Memorial Stadium.\u003c/p>\n\u003cfigure id=\"attachment_13920390\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/MAC_0214-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13920390\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/MAC_0214-800x535.jpg\" alt=\"an older man in a suit laughs with an older woman in a purple and light blue top\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/MAC_0214-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/MAC_0214-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/MAC_0214-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/MAC_0214-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/MAC_0214-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/MAC_0214-2048x1369.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/MAC_0214-1920x1283.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Everett Alvarez, a lifelong friend of Joe Kapp, with former El Sausal teacher Palmina Brunelli. \u003ccite>(Courtesy of Salinas Union High School District)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After Joe’s sophomore year at Salinas High, the Kapps returned to Southern California. Joe reunited with Everett in Berkeley years later — Kapp as a Cal quarterback and Alvarez visiting from Santa Clara University. Before Cal football dinners, Alvarez told the audience, Kapp would hide his former classmate between Cal teammates and into the cafeteria. A quarterback sneak.\u003c/p>\n\u003cp>Kapp was recruited to play football for one legendary Cal coach, Pappy Waldorf, and given a scholarship to play basketball for another, Pete Newell. As a junior quarterback playing for new coach Pete Elliott, Kapp led Cal to the 1958 Rose Bowl (the loss to Iowa remains Cal’s most recent Rose Bowl berth). On the basketball court, Kapp played tough defense as a reserve.\u003c/p>\n\u003cp>After being selected in the NFL draft, Kapp instead signed with the Canadian Football League. Following a 1961 trade from Calgary, Kapp led the BC Lions to the 1964 Grey Cup title.\u003c/p>\n\u003cp>Alvarez enlisted in the Navy and, in 1964, became the first American serving in Vietnam to be shot down and detained as a prisoner of war. He was held captive for nine years, and for his service was awarded two Purple Hearts. A Salinas high school is named in his honor.\u003c/p>\n\u003cfigure id=\"attachment_13920389\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/GettyImages-107339470.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13920389\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/GettyImages-107339470-800x540.jpg\" alt=\"\" width=\"800\" height=\"540\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/GettyImages-107339470-800x540.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/GettyImages-107339470-1020x688.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/GettyImages-107339470-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/GettyImages-107339470-768x518.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/GettyImages-107339470.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Joe Kapp, #11 on the Boston Patriots, throws a pass against the New York Jets during an NFL game at Shea Stadium on Nov. 22, 1970. \u003ccite>(Focus on Sport/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 1967, Kapp signed with the Vikings and, in 1968, he gained a reputation for his rugged play and leadership as the team earned its first postseason berth. In 1969, Kapp finished second in MVP voting, threw 19 touchdowns and led Minnesota to the Super Bowl, a loss to Kansas City.\u003c/p>\n\u003cp>It would be his last game with Minnesota.\u003c/p>\n\u003cp>Months after the Sports Illustrated cover story was published, Kapp signed a record four-year contract with the Boston Patriots, who were coming off a poor season. The team went 2-12 with Kapp. When Boston asked Kapp to sign a standard contract the following season, he refused. Kapp never played another NFL game. In 1974, he won a summary judgment against the NFL, citing restraint of trade, but never received compensation for damages.\u003c/p>\n\u003ch2>‘The Bear will not quit’\u003c/h2>\n\u003cp>Kapp took up acting for a few years, but couldn’t stay away from football for long: he returned to Cal as football coach in 1982. In his first game against rival Stanford, The Big Game, Cal used a series of laterals that culminated in a last-second, game-winning touchdown and toppled over a Stanford trombone player in the process. Kapp coached Cal through 1986, when the team finished with a 2-9 record but pulled off an upset of rival Stanford in Kapp’s final game.\u003c/p>\n\u003cp>“The Bear will not quit, the Bear will not die,” Kapp said, in what has become something of a \u003ca href=\"https://twitter.com/calfootball/status/1565823267251707904?lang=en\">catchphrase for the team\u003c/a>.\u003c/p>\n\u003cp>Kapp later became a general manager in the Canadian Football League and a coach in the Arena Football League before retiring. He now lives in Los Gatos.\u003c/p>\n\u003cfigure id=\"attachment_13920391\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/MAC_0253-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13920391\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/MAC_0253-800x535.jpg\" alt=\"a group of people pose in front of a sign that reads 'Joe Kapp Field' 'The Toughest Chicano'\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/MAC_0253-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/MAC_0253-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/MAC_0253-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/MAC_0253-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/MAC_0253-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/MAC_0253-2048x1369.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/MAC_0253-1920x1283.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Joe Kapp, center, surrounded by friends and family at the dedication of Joe Kapp Field. \u003ccite>(Courtesy of Salinas Union High School District)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At El Sausal, a nervous Vikings fan — perhaps he saw the viral CFL video — eagerly waited to give Kapp a personalized hat. After the final speaker, a collection of fans, family, friends and media swarmed Kapp as his daughters, Emiliana and Gabriela, helped organize autographs.\u003c/p>\n\u003cp>At about this time, the bell rang and dozens more students surrounded Kapp, who had ditched his wheelchair and walked to the newly unveiled athletic field sign, designed by daughter Emiliana and Julio Gil of Central Coast Sign and Design. It reads “JOE KAPP FIELD,” along with “The Toughest Chicano,” and features an illustration of Kapp’s signature snarl under a single-bar facemask.\u003c/p>\n\u003cp>Then Kapp walked to a 1965 Buick Wildcat lowrider, driven by Debbie Martin of Lady Lowriders United. Kapp grimaced as he dipped into a sunken passenger seat, and the car drove away as students gave chase and “La Cucaracha” blared from the speakers at Joe Kapp Field.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"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/V0jgI2ff9WU'\n title='//www.youtube.com/embed/V0jgI2ff9WU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13920367/joe-kapp-toughest-chicano-salinas",
"authors": [
"byline_arts_13920367"
],
"categories": [
"arts_1",
"arts_13238"
],
"tags": [
"arts_1270",
"arts_3419",
"arts_10278",
"arts_8273",
"arts_1256",
"arts_2565",
"arts_4751",
"arts_4506"
],
"featImg": "arts_13920374",
"label": "arts"
},
"arts_13920198": {
"type": "posts",
"id": "arts_13920198",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13920198",
"score": null,
"sort": [
1665340404000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1665340404,
"format": "standard",
"title": "‘He Should Still Be Here’: Zumbi’s Loved Ones Demand Charges for Hospital Staff, Security",
"headTitle": "‘He Should Still Be Here’: Zumbi’s Loved Ones Demand Charges for Hospital Staff, Security | KQED",
"content": "\u003cp>In the last weeks of his life, Oakland hip-hop artist Stephen Gaines, better known as Zumbi of Zion I, had started a hopeful new chapter.\u003c/p>\n\u003cp>In July 2021, he headlined a concert in Nevada City where eager fans lined up for pictures and autographs. He’d come down with COVID-19 after the show, but with his partner of four years, Millaray Rodriguez Avila, he began recovering. The couple visited the beach and went on hikes, and Gaines regained his appetite, eating second helpings of vegan ramen.\u003c/p>\n\u003cp>Gaines laid plans to release new music and embark upon a Zion I reunion tour with his longtime musical collaborator, Amp Live. He and Rodriguez Avila prepared to sign a lease on a house in Oakland, where they planned to live with Gaines’ mother, his young three boys and Rodriguez Avila’s middle school-age son.\u003c/p>\n\u003cp>All of those plans ground to a halt on Aug. 13, 2021, when Gaines was killed during a stay at Alta Bates Medical Center in Berkeley. [aside postid='arts_13920004']\u003c/p>\n\u003cp>The day prior, Gaines had called 911 for help during an apparent mental health crisis and checked himself into Alta Bates. His family and their lawyers say he should have walked out of the hospital alive. Instead, they allege, hospital staff and Allied Universal security guards used excessive force and killed him. According to the coroner’s report, three men, including a patient transporter and a security guard, piled on top of Gaines, placing their weight on his arms, legs and upper torso. They held Gaines to the ground for approximately five to 10 minutes.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The coroner determined that Gaines died by homicide, with the official cause of death as “physiologic stress of altercation and restraint during a psychotic episode,” and COVID-19 and an enlarged heart as contributing factors. Yet more than a year since Gaines’ death, Berkeley police have not announced any suspects nor made arrests. After initially stating that Gaines’ killing did not “appear criminal in nature,” the Alameda County District Attorney’s office reversed course on Oct. 5 and announced that, in light of new information, criminal charges could still be possible.\u003c/p>\n\u003cfigure id=\"attachment_13918678\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918678\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Baba-Zumbi%E2%80%99s-Family-on-the-main-stage-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Baba-Zumbi’s-Family-on-the-main-stage-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Baba-Zumbi’s-Family-on-the-main-stage-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Baba-Zumbi’s-Family-on-the-main-stage-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Baba-Zumbi’s-Family-on-the-main-stage-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Baba-Zumbi’s-Family-on-the-main-stage-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Baba-Zumbi’s-Family-on-the-main-stage-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Zumbi’s family joins the main stage for a tribute to the Zion I MC at the Hiero Day festival in Oakland on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The restraints used by a combination of Allied Universal staff and Alta Bates staff [were] homicidal,” says Elizabeth Grossman, one of the attorneys representing Gaines’ mother Carolyn, Gaines’ three boys and Rodriguez Avila. Grossman says criminal charges are likely, and that she plans to file a civil lawsuit against Alta Bates hospital and Allied Universal.\u003c/p>\n\u003cp>“I think Ms. Gaines said it right when she was talking to Nancy O’Malley, the district attorney, the other day,” says Grossman. “She sadly recognized that she’s joined a terrible, small club of mothers whose sons have been murdered — not only sons, but children who have been murdered — and she called out George Floyd’s mother.”\u003c/p>\n\u003cp>Law enforcement’s lack of answers and long delays have frustrated those close to Gaines. Now, on what would have been Gaines’ 50th birthday, Oct. 9, loved ones who’d previously stayed silent as the investigation took its course are demanding answers and accountability.\u003c/p>\n\u003cp>“The only thing I want is charges for the people who are responsible for ending a beautiful life the way that they did,” says Rodriguez Avila.\u003c/p>\n\u003cfigure id=\"attachment_13920210\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13920210\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/millaray-800x591.jpg\" alt=\"\" width=\"800\" height=\"591\">\u003cfigcaption class=\"wp-caption-text\">Millaray Rodriguez Avila holds a photo of Stephen Gaines, her partner of four years. Before he died under suspicious circumstances at Alta Bates hospital, the couple had plans to move in together with Gaines’ mother, his three boys and Rodriguez Avila’s son. \u003ccite>(Nastia Voynovskaya/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Lawyers point to wrongful treatment on the hospital floor\u003c/h2>\n\u003cp>According to the coroner’s report, Gaines called 911 on Aug. 12, 2021, to seek help for suicidal ideation. He checked himself into the hospital, where he was placed on a 5150, the code for a 72-hour involuntary psychiatric hold. His toxicology screen was negative, and he was given anti-anxiety medication. Rodriguez Avila says she communicated with Gaines while he was in the hospital, and that he seemed optimistic about his recovery.\u003c/p>\n\u003cp>After sleeping through most of the night, the report says, Gaines awoke suddenly in his bed as attending nurses discussed ordering a CT scan. Witnesses said he chased nurses through the halls and put a pregnant security guard “in a choke hold.” After security and staff pulled Gaines from the guard, a patient transporter took Gaines to the floor, held him face down, and laid on top of him, straddling Gaines’ upper torso. A security guard later piled on top of the patient transporter, putting additional weight on Gaines’ torso, back, and left arm. A third person restrained Gaines’ legs and left elbow.\u003c/p>\n\u003cp>“It is unknown how much body weight was placed on Mr. Gaines,” the coroner’s report notes. Witnesses estimate Gaines was on the ground for “approximately 5-10 minutes.”\u003c/p>\n\u003cp>After a few minutes of struggle, according to the autopsy, the men on top of Gaines noticed blood coming from his mouth, and “could not tell if he was breathing.” When Berkeley police arrived, they attempted to handcuff Gaines while the three men stood up. Officers noticed that Gaines was unresponsive, rolled him on his back, and then put him in handcuffs before administering CPR. By then it was too late. Gaines was pronounced dead at 5:51 a.m. on Aug. 13.\u003c/p>\n\u003cp>[pullquote size='medium' align='right' citation='Millaray Rodriguez Avila']‘I want the truth. What happened that day? How did security and hospital staff end [the life of] a person who was so beautiful?’[/pullquote]That morning, Rodriguez Avila got a call from the hospital director. The partner she had been building a life with was dead.\u003c/p>\n\u003cp>“I kind of collapsed,” she says now, over a year later. “I lost myself, where I was. I thought it was a movie.”\u003c/p>\n\u003cp>“I want the truth,” Rodriguez Avila continues. “What happened that day? How did security and hospital staff end [the life of] a person who was so beautiful?”\u003c/p>\n\u003cp>She and friends who knew Gaines for decades describe him as a kind, gentle soul — a loving parent, partner and friend. They remember him as a health-conscious meditation practitioner who aspired to be his best self and encouraged people to be kinder to each other. That message was audible in his music, which often dealt with themes of societal injustices.\u003c/p>\n\u003cp>“He taught me love,” says Rodriguez Avila. “In our relationship, the beautiful thing is that love, that passion that we had for each other, it was around us, too. It was with our kids. It was with our friends. Everywhere we [went], we projected and received back love.”\u003c/p>\n\u003cp>“I remember him as somebody who always spread love and spread light, and somebody who was an innovator, extremely creative, original,” says friend and fellow hip-hop artist Dustin Sharpe. “Almost like a God-sent prophet because he always spoke wisdom. He always looked at the positive side of things.”\u003c/p>\n\u003cp>The people close to Gaines say he didn’t have a history of mental illness. He dealt with normal life stressors from parenthood and his career as an artist.\u003c/p>\n\u003cp>“When I heard that he brought himself to the hospital, I knew that something was up, that he must have been going through something,” says longtime friend and musical collaborator The Grouch. “People can reach a point of struggle, and whatever happens in that hospital, the hospital is the professionals, and they should be trained to take care of the situation.”\u003c/p>\n\u003cp>Federal regulations outline safe techniques for restraining patients in hospitals. “They specifically call out in the federal regulations that there cannot be positional asphyxiation,” Grossman says. “Most importantly, the regulations require that medical aid be given while restraints are being applied. These regulations were written with a history of understanding that mental health situations often result in restraints being used, and trying to correct bad practices.”\u003c/p>\n\u003cp>“In this case, every bad practice happened,” Grossman continues. “For the five to 10 minutes that he was being restrained with three men lying on his back, there was not one ounce of medical care offered to save this man’s life. That is ugly beyond belief.”\u003c/p>\n\u003cp>[pullquote size='large' align='left' citation='Deuce Eclipse']‘The bottom line for me is he should still be here.’[/pullquote]\u003c/p>\n\u003cp>Friends of Gaines are frustrated law enforcement hasn’t named any suspects. “What are the names of these people who laid on him for five to 10 minutes thinking that was right, whether he was having an episode or not?” says Gina Madrid, a friend and fellow hip-hop artist. “Because you’re not going to kill our brother like that.”\u003c/p>\n\u003cp>“People have to be held accountable,” says hip-hop artist Deuce Eclipse, who had been close with Gaines since the two were in high school. “The bottom line for me is he should still be here. There’s no reason I can find in my mind, my heart, my spirit and my soul why he would be killed in the hospital.”\u003c/p>\n\u003cp>Berkeley police, Alta Bates or its security company, Allied Universal, did not respond to requests for comment as of press time.\u003c/p>\n\u003cfigure id=\"attachment_13920201\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13920201\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/DSC01278_FreeReinTour_2018-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/DSC01278_FreeReinTour_2018-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/DSC01278_FreeReinTour_2018-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/DSC01278_FreeReinTour_2018-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/DSC01278_FreeReinTour_2018-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/DSC01278_FreeReinTour_2018-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/DSC01278_FreeReinTour_2018.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Zumbi (back right) backstage with his friend Deuce Eclipse (front right) in 2018. The two had been close since high school. \u003ccite>(Courtesy of Deuce Eclipse)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Loved ones call for accountability for hospital security guards and staff\u003c/h2>\n\u003cp>In the eyes of his partner and friends, Gaines’ death is another example of authority figures treating the life of a Black person as disposable. For Rodriguez Avila, the loss was shocking, but it also felt disturbingly familiar.\u003c/p>\n\u003cp>“It’s happened before in this country. It’s happened in California. It’s happened in the Bay Area before,” she says. “And there’s so many families, mothers, brothers, sisters that are waiting for answers for other brown, Latino and Black people that have been killed by use of force.”\u003c/p>\n\u003cp>For others, what happened to Gaines is indicative of abuse and racism in the medical and criminal justice systems. “I think that there needs to be a magnifying glass put on the hospitals and how they function,” says The Grouch.\u003c/p>\n\u003cp>That includes the private security companies that hospitals hire. Allied Universal is a multi-billion-dollar global conglomerate that operates in 90 countries and employs 800,000. Liv Styler, a friend of Gaines and an independent journalist, points out that \u003ca href=\"https://livmuthafknstyler.medium.com/misuse-of-force-is-an-under-reported-epidemic-in-private-security-and-may-have-played-a-role-in-the-646f2627375\" target=\"_blank\" rel=\"noopener noreferrer\">security guards receive significantly less use-of-force training than police officers\u003c/a>. Unlike police, security guards have no public oversight. They aren’t compelled to disclose information by public records laws, which makes it possible to hide misconduct. (\u003ca href=\"https://www.capradio.org/articles/2020/07/10/california-has-no-clear-use-of-force-standard-for-security-guards-regulators-say-that-leaves-their-hands-tied/\" target=\"_blank\" rel=\"noopener noreferrer\">Another death at the hands of Allied Universal security guards\u003c/a> in 2019 prompted a new California law that will \u003ca href=\"https://www.capradio.org/articles/2021/10/28/new-california-law-requires-use-of-force-training-for-security-guards-prompted-by-capradio-investigation/\" target=\"_blank\" rel=\"noopener noreferrer\">create use-of-force standards\u003c/a> for the industry in 2023.)\u003c/p>\n\u003cp>[aside postID='news_11907746']“We need the same type of pressure that happened with police officers to happen with private security,” Styler says. “I think the fact that no one even really considers it an issue is huge.”\u003c/p>\n\u003cp>The investigation into Gaines’ death lasted for over a year, the Alameda County Coroner’s Bureau has said, because of delays in obtaining the toxicology report. Meanwhile, the delay in the district attorney’s decision on whether or not to file charges is “becoming detrimental to the case, and also just to the emotions and the sentiment of those who are close to him as we try to process this,” says musician and longtime friend Kev Choice.\u003c/p>\n\u003cp>Now, Gaines’ friends and family fear there could be further obstacles. O’Malley, the Alameda County District Attorney, will retire when her term ends at the beginning of 2023. A spokesperson for the D.A. told KQED on Oct. 7 that there is currently no timeline for a decision in Gaines’ case.\u003c/p>\n\u003cp>“It’s been 14 months,” says Rodriguez Avila. “What is gonna happen to the review of the case she says that she’s doing? I want to know the result of the review … I want her to [file] charges before she leaves office, before the elections in November next month.”\u003c/p>\n\u003cp>“I’m learning for the first time how to go day-by-day without my love. Without the person that was helping to raise my boy, too,” Rodriguez Avila adds. “That’s why I’m screaming for justice.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 2205,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 40
},
"modified": 1705006289,
"excerpt": "'The only thing I want is charges for the people who are responsible for ending a beautiful life,' says his partner, Millaray Rodriguez.",
"headData": {
"twImgId": "",
"twTitle": "Zumbi’s Loved Ones Demand Charges for Hospital Staff, Security",
"socialTitle": "Zumbi’s Loved Ones Demand Charges for Hospital Staff, Security %%page%% %%sep%% KQED",
"ogTitle": "Zumbi’s Loved Ones Demand Charges for Hospital Staff, Security",
"ogImgId": "",
"twDescription": "",
"description": "'The only thing I want is charges for the people who are responsible for ending a beautiful life,' says his partner, Millaray Rodriguez.",
"title": "Zumbi’s Loved Ones Demand Charges for Hospital Staff, Security | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "‘He Should Still Be Here’: Zumbi’s Loved Ones Demand Charges for Hospital Staff, Security",
"datePublished": "2022-10-09T11:33:24-07:00",
"dateModified": "2024-01-11T12:51:29-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "zumbi-zion-i-improper-restraint-at-hospital",
"status": "publish",
"templateType": "standard",
"excludeFromSiteSearch": "Include",
"featuredImageType": "standard",
"sticky": false,
"path": "/arts/13920198/zumbi-zion-i-improper-restraint-at-hospital",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the last weeks of his life, Oakland hip-hop artist Stephen Gaines, better known as Zumbi of Zion I, had started a hopeful new chapter.\u003c/p>\n\u003cp>In July 2021, he headlined a concert in Nevada City where eager fans lined up for pictures and autographs. He’d come down with COVID-19 after the show, but with his partner of four years, Millaray Rodriguez Avila, he began recovering. The couple visited the beach and went on hikes, and Gaines regained his appetite, eating second helpings of vegan ramen.\u003c/p>\n\u003cp>Gaines laid plans to release new music and embark upon a Zion I reunion tour with his longtime musical collaborator, Amp Live. He and Rodriguez Avila prepared to sign a lease on a house in Oakland, where they planned to live with Gaines’ mother, his young three boys and Rodriguez Avila’s middle school-age son.\u003c/p>\n\u003cp>All of those plans ground to a halt on Aug. 13, 2021, when Gaines was killed during a stay at Alta Bates Medical Center in Berkeley. \u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13920004",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The day prior, Gaines had called 911 for help during an apparent mental health crisis and checked himself into Alta Bates. His family and their lawyers say he should have walked out of the hospital alive. Instead, they allege, hospital staff and Allied Universal security guards used excessive force and killed him. According to the coroner’s report, three men, including a patient transporter and a security guard, piled on top of Gaines, placing their weight on his arms, legs and upper torso. They held Gaines to the ground for approximately five to 10 minutes.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The coroner determined that Gaines died by homicide, with the official cause of death as “physiologic stress of altercation and restraint during a psychotic episode,” and COVID-19 and an enlarged heart as contributing factors. Yet more than a year since Gaines’ death, Berkeley police have not announced any suspects nor made arrests. After initially stating that Gaines’ killing did not “appear criminal in nature,” the Alameda County District Attorney’s office reversed course on Oct. 5 and announced that, in light of new information, criminal charges could still be possible.\u003c/p>\n\u003cfigure id=\"attachment_13918678\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918678\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Baba-Zumbi%E2%80%99s-Family-on-the-main-stage-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Baba-Zumbi’s-Family-on-the-main-stage-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Baba-Zumbi’s-Family-on-the-main-stage-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Baba-Zumbi’s-Family-on-the-main-stage-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Baba-Zumbi’s-Family-on-the-main-stage-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Baba-Zumbi’s-Family-on-the-main-stage-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Baba-Zumbi’s-Family-on-the-main-stage-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Zumbi’s family joins the main stage for a tribute to the Zion I MC at the Hiero Day festival in Oakland on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The restraints used by a combination of Allied Universal staff and Alta Bates staff [were] homicidal,” says Elizabeth Grossman, one of the attorneys representing Gaines’ mother Carolyn, Gaines’ three boys and Rodriguez Avila. Grossman says criminal charges are likely, and that she plans to file a civil lawsuit against Alta Bates hospital and Allied Universal.\u003c/p>\n\u003cp>“I think Ms. Gaines said it right when she was talking to Nancy O’Malley, the district attorney, the other day,” says Grossman. “She sadly recognized that she’s joined a terrible, small club of mothers whose sons have been murdered — not only sons, but children who have been murdered — and she called out George Floyd’s mother.”\u003c/p>\n\u003cp>Law enforcement’s lack of answers and long delays have frustrated those close to Gaines. Now, on what would have been Gaines’ 50th birthday, Oct. 9, loved ones who’d previously stayed silent as the investigation took its course are demanding answers and accountability.\u003c/p>\n\u003cp>“The only thing I want is charges for the people who are responsible for ending a beautiful life the way that they did,” says Rodriguez Avila.\u003c/p>\n\u003cfigure id=\"attachment_13920210\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13920210\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/millaray-800x591.jpg\" alt=\"\" width=\"800\" height=\"591\">\u003cfigcaption class=\"wp-caption-text\">Millaray Rodriguez Avila holds a photo of Stephen Gaines, her partner of four years. Before he died under suspicious circumstances at Alta Bates hospital, the couple had plans to move in together with Gaines’ mother, his three boys and Rodriguez Avila’s son. \u003ccite>(Nastia Voynovskaya/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Lawyers point to wrongful treatment on the hospital floor\u003c/h2>\n\u003cp>According to the coroner’s report, Gaines called 911 on Aug. 12, 2021, to seek help for suicidal ideation. He checked himself into the hospital, where he was placed on a 5150, the code for a 72-hour involuntary psychiatric hold. His toxicology screen was negative, and he was given anti-anxiety medication. Rodriguez Avila says she communicated with Gaines while he was in the hospital, and that he seemed optimistic about his recovery.\u003c/p>\n\u003cp>After sleeping through most of the night, the report says, Gaines awoke suddenly in his bed as attending nurses discussed ordering a CT scan. Witnesses said he chased nurses through the halls and put a pregnant security guard “in a choke hold.” After security and staff pulled Gaines from the guard, a patient transporter took Gaines to the floor, held him face down, and laid on top of him, straddling Gaines’ upper torso. A security guard later piled on top of the patient transporter, putting additional weight on Gaines’ torso, back, and left arm. A third person restrained Gaines’ legs and left elbow.\u003c/p>\n\u003cp>“It is unknown how much body weight was placed on Mr. Gaines,” the coroner’s report notes. Witnesses estimate Gaines was on the ground for “approximately 5-10 minutes.”\u003c/p>\n\u003cp>After a few minutes of struggle, according to the autopsy, the men on top of Gaines noticed blood coming from his mouth, and “could not tell if he was breathing.” When Berkeley police arrived, they attempted to handcuff Gaines while the three men stood up. Officers noticed that Gaines was unresponsive, rolled him on his back, and then put him in handcuffs before administering CPR. By then it was too late. Gaines was pronounced dead at 5:51 a.m. on Aug. 13.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "‘I want the truth. What happened that day? How did security and hospital staff end [the life of] a person who was so beautiful?’",
"name": "pullquote",
"attributes": {
"named": {
"size": "medium",
"align": "right",
"citation": "Millaray Rodriguez Avila",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>That morning, Rodriguez Avila got a call from the hospital director. The partner she had been building a life with was dead.\u003c/p>\n\u003cp>“I kind of collapsed,” she says now, over a year later. “I lost myself, where I was. I thought it was a movie.”\u003c/p>\n\u003cp>“I want the truth,” Rodriguez Avila continues. “What happened that day? How did security and hospital staff end [the life of] a person who was so beautiful?”\u003c/p>\n\u003cp>She and friends who knew Gaines for decades describe him as a kind, gentle soul — a loving parent, partner and friend. They remember him as a health-conscious meditation practitioner who aspired to be his best self and encouraged people to be kinder to each other. That message was audible in his music, which often dealt with themes of societal injustices.\u003c/p>\n\u003cp>“He taught me love,” says Rodriguez Avila. “In our relationship, the beautiful thing is that love, that passion that we had for each other, it was around us, too. It was with our kids. It was with our friends. Everywhere we [went], we projected and received back love.”\u003c/p>\n\u003cp>“I remember him as somebody who always spread love and spread light, and somebody who was an innovator, extremely creative, original,” says friend and fellow hip-hop artist Dustin Sharpe. “Almost like a God-sent prophet because he always spoke wisdom. He always looked at the positive side of things.”\u003c/p>\n\u003cp>The people close to Gaines say he didn’t have a history of mental illness. He dealt with normal life stressors from parenthood and his career as an artist.\u003c/p>\n\u003cp>“When I heard that he brought himself to the hospital, I knew that something was up, that he must have been going through something,” says longtime friend and musical collaborator The Grouch. “People can reach a point of struggle, and whatever happens in that hospital, the hospital is the professionals, and they should be trained to take care of the situation.”\u003c/p>\n\u003cp>Federal regulations outline safe techniques for restraining patients in hospitals. “They specifically call out in the federal regulations that there cannot be positional asphyxiation,” Grossman says. “Most importantly, the regulations require that medical aid be given while restraints are being applied. These regulations were written with a history of understanding that mental health situations often result in restraints being used, and trying to correct bad practices.”\u003c/p>\n\u003cp>“In this case, every bad practice happened,” Grossman continues. “For the five to 10 minutes that he was being restrained with three men lying on his back, there was not one ounce of medical care offered to save this man’s life. That is ugly beyond belief.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "‘The bottom line for me is he should still be here.’",
"name": "pullquote",
"attributes": {
"named": {
"size": "large",
"align": "left",
"citation": "Deuce Eclipse",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Friends of Gaines are frustrated law enforcement hasn’t named any suspects. “What are the names of these people who laid on him for five to 10 minutes thinking that was right, whether he was having an episode or not?” says Gina Madrid, a friend and fellow hip-hop artist. “Because you’re not going to kill our brother like that.”\u003c/p>\n\u003cp>“People have to be held accountable,” says hip-hop artist Deuce Eclipse, who had been close with Gaines since the two were in high school. “The bottom line for me is he should still be here. There’s no reason I can find in my mind, my heart, my spirit and my soul why he would be killed in the hospital.”\u003c/p>\n\u003cp>Berkeley police, Alta Bates or its security company, Allied Universal, did not respond to requests for comment as of press time.\u003c/p>\n\u003cfigure id=\"attachment_13920201\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13920201\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/DSC01278_FreeReinTour_2018-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/DSC01278_FreeReinTour_2018-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/DSC01278_FreeReinTour_2018-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/DSC01278_FreeReinTour_2018-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/DSC01278_FreeReinTour_2018-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/DSC01278_FreeReinTour_2018-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/DSC01278_FreeReinTour_2018.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Zumbi (back right) backstage with his friend Deuce Eclipse (front right) in 2018. The two had been close since high school. \u003ccite>(Courtesy of Deuce Eclipse)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Loved ones call for accountability for hospital security guards and staff\u003c/h2>\n\u003cp>In the eyes of his partner and friends, Gaines’ death is another example of authority figures treating the life of a Black person as disposable. For Rodriguez Avila, the loss was shocking, but it also felt disturbingly familiar.\u003c/p>\n\u003cp>“It’s happened before in this country. It’s happened in California. It’s happened in the Bay Area before,” she says. “And there’s so many families, mothers, brothers, sisters that are waiting for answers for other brown, Latino and Black people that have been killed by use of force.”\u003c/p>\n\u003cp>For others, what happened to Gaines is indicative of abuse and racism in the medical and criminal justice systems. “I think that there needs to be a magnifying glass put on the hospitals and how they function,” says The Grouch.\u003c/p>\n\u003cp>That includes the private security companies that hospitals hire. Allied Universal is a multi-billion-dollar global conglomerate that operates in 90 countries and employs 800,000. Liv Styler, a friend of Gaines and an independent journalist, points out that \u003ca href=\"https://livmuthafknstyler.medium.com/misuse-of-force-is-an-under-reported-epidemic-in-private-security-and-may-have-played-a-role-in-the-646f2627375\" target=\"_blank\" rel=\"noopener noreferrer\">security guards receive significantly less use-of-force training than police officers\u003c/a>. Unlike police, security guards have no public oversight. They aren’t compelled to disclose information by public records laws, which makes it possible to hide misconduct. (\u003ca href=\"https://www.capradio.org/articles/2020/07/10/california-has-no-clear-use-of-force-standard-for-security-guards-regulators-say-that-leaves-their-hands-tied/\" target=\"_blank\" rel=\"noopener noreferrer\">Another death at the hands of Allied Universal security guards\u003c/a> in 2019 prompted a new California law that will \u003ca href=\"https://www.capradio.org/articles/2021/10/28/new-california-law-requires-use-of-force-training-for-security-guards-prompted-by-capradio-investigation/\" target=\"_blank\" rel=\"noopener noreferrer\">create use-of-force standards\u003c/a> for the industry in 2023.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "news_11907746",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>“We need the same type of pressure that happened with police officers to happen with private security,” Styler says. “I think the fact that no one even really considers it an issue is huge.”\u003c/p>\n\u003cp>The investigation into Gaines’ death lasted for over a year, the Alameda County Coroner’s Bureau has said, because of delays in obtaining the toxicology report. Meanwhile, the delay in the district attorney’s decision on whether or not to file charges is “becoming detrimental to the case, and also just to the emotions and the sentiment of those who are close to him as we try to process this,” says musician and longtime friend Kev Choice.\u003c/p>\n\u003cp>Now, Gaines’ friends and family fear there could be further obstacles. O’Malley, the Alameda County District Attorney, will retire when her term ends at the beginning of 2023. A spokesperson for the D.A. told KQED on Oct. 7 that there is currently no timeline for a decision in Gaines’ case.\u003c/p>\n\u003cp>“It’s been 14 months,” says Rodriguez Avila. “What is gonna happen to the review of the case she says that she’s doing? I want to know the result of the review … I want her to [file] charges before she leaves office, before the elections in November next month.”\u003c/p>\n\u003cp>“I’m learning for the first time how to go day-by-day without my love. Without the person that was helping to raise my boy, too,” Rodriguez Avila adds. “That’s why I’m screaming for justice.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13920198/zumbi-zion-i-improper-restraint-at-hospital",
"authors": [
"11387"
],
"categories": [
"arts_1",
"arts_69",
"arts_235"
],
"tags": [
"arts_1270",
"arts_10342",
"arts_10278",
"arts_15217",
"arts_15215"
],
"featImg": "arts_13920202",
"label": "arts"
},
"arts_13920004": {
"type": "posts",
"id": "arts_13920004",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13920004",
"score": null,
"sort": [
1664991499000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1664991499,
"format": "standard",
"title": "Criminal Charges in Zumbi Homicide Investigation Still Possible, Family Says",
"headTitle": "Criminal Charges in Zumbi Homicide Investigation Still Possible, Family Says | KQED",
"content": "\u003cp>\u003cem>This story has been updated. \u003c/em>\u003c/p>\n\u003cp>Criminal charges may still be filed for the death of popular Bay Area hip-hop artist Stephen Gaines, best known as Baba Zumbi of the duo Zion I.\u003c/p>\n\u003cp>Gaines died at Alta Bates Summit Medical Center in Berkeley on Aug. 13, 2021, after being held down by three hospital security guards and handcuffed by Berkeley Police officers while unconscious. Berkeley Police investigated the case as a homicide, but did not announce suspects or make arrests.\u003c/p>\n\u003cp>\u003ca href=\"https://www.mercurynews.com/2022/09/30/exclusive-zion-i-rapper-zumbis-death-ruled-a-homicide-but-no-criminal-charges-will-be-filed/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Mercury News\u003c/em>\u003c/a> reported last week that the Alameda Country District Attorney’s office had declined to pursue criminal charges despite the death being ruled a homicide. But Wednesday, after meeting with District Attorney Nancy O’Malley, Gaines’ mother, Carolyn Gaines, and her lawyer, Elizabeth Grossman, released a statement that the D.A. still could bring criminal charges. [aside postID='arts_13901531']\u003c/p>\n\u003cp>“Nothing has been finalized on criminal charges related to my son’s death,” Carolyn Gaines said in a statement. “I feel assured and confident that this case is not over and criminal charges remain likely. I am holding steadfast that the institutions responsible for my son’s death will be held accountable.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In the same statement, Grossman echoed the possibility of criminal charges. “I spoke directly with Nancy O’Malley today and a final decision has not been made,” she said.\u003c/p>\n\u003cp>The district attorney’s office confirmed this development. “We are looking at potential new information. That’s all we can say at this time,” a spokesperson for the district attorney told KQED on Wednesday. [pullquote size='medium' align='right' citation='Liv Styler, friend']‘If [Zumbi] was having a mental health episode, crisis, whatever, he should still be alive.’[/pullquote]\u003c/p>\n\u003cp>The circumstances surrounding Zumbi’s death have been shrouded in secrecy. Over the past year, KQED repeatedly requested interviews with the Berkeley Police Department and the Alameda County Coroner’s Bureau and did not receive a response, even after Berkeley Police concluded their investigation in August 2022. BPD also denied KQED’s public records request for officer body camera footage from the incident.\u003c/p>\n\u003cp>The slowness of the investigation and lack of transparency has frustrated Zumbi’s loved ones. “I’m infuriated. I’m mad and angry and sad, but I’m not surprised,” said rapper and activist Equipto, Zumbi’s close friend and collaborator, in an interview in August, adding: “I think people power is really the only way that we’re really going to get anything accomplished.”\u003c/p>\n\u003cfigure id=\"attachment_13918677\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918677\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Baba-Zumbi%E2%80%99s-Family-on-the-main-stage-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Baba-Zumbi’s-Family-on-the-main-stage-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Baba-Zumbi’s-Family-on-the-main-stage-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Baba-Zumbi’s-Family-on-the-main-stage-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Baba-Zumbi’s-Family-on-the-main-stage-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Baba-Zumbi’s-Family-on-the-main-stage-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Baba-Zumbi’s-Family-on-the-main-stage-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Zumbi’s family joins the main stage for the Zion I tribute concert at Hiero Day on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The coroner’s report, obtained by \u003cem>The Mercury News\u003c/em>, revealed previously unknown allegations from Berkeley Police investigators and hospital staff. The report noted that Gaines checked himself in during a mental health crisis during which he experienced suicidal ideation, and was diagnosed with COVID-related pneumonia. According to staff and investigators, prior to his death, Gaines woke up before a CT scan, chased hospital staff through the halls and put a pregnant security guard in a “choke hold.”\u003c/p>\n\u003cp>But family and friends of Zumbi question what happened in those last moments. Those who knew him describe Zumbi as a spiritual practitioner, loving father and kind, supportive friend. [pullquote size='medium' align='right' citation='Carolyn Gaines']‘I am holding steadfast that the institutions responsible for my son’s death will be held accountable.’[/pullquote]\u003c/p>\n\u003cp>“He was just a really great human. They took a really, really, really amazing person from a lot of people,” said Zumbi’s longtime friend Liv Styler, who added that she didn’t know him to have serious mental health issues. She and others are demanding that the hospital release its security footage.\u003c/p>\n\u003cp>“If he was having a mental health episode, crisis, whatever, he should still be alive,” said Styler. “No matter what version of a mental health situation he was in at the time, they decided it was OK to take his life.”\u003c/p>\n\u003cp>Styler, an activist and \u003ca href=\"https://livmuthafknstyler.medium.com/misuse-of-force-is-an-under-reported-epidemic-in-private-security-and-may-have-played-a-role-in-the-646f2627375\" target=\"_blank\" rel=\"noopener noreferrer\">independent journalist\u003c/a>, said on Tuesday that the incident points to a larger issue: the difficulty in holding private security guards — who have little use-of-force training, and no public oversight — accountable for deaths and injuries. (A \u003ca href=\"https://www.capradio.org/articles/2021/10/28/new-california-law-requires-use-of-force-training-for-security-guards-prompted-by-capradio-investigation/\" target=\"_blank\" rel=\"noopener noreferrer\">new California law\u003c/a> will require use-of-force standards and training for private security in 2023.)\u003c/p>\n\u003cp>Styler is frustrated by the lack of transparency in the investigation. “None of this has been handled well, and no one in the system is ever forced to really think about the kind of detriment that they do to the people who are actually impacted on a day-to-day basis after someone is murdered,” she said. “But for those of us that are still here, it’s like watching him die over and over again.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Styler and others are compiling tributes, and possible future calls to action, on a recently created \u003ca href=\"https://www.instagram.com/justice_for_zumbi/\" target=\"_blank\" rel=\"noopener noreferrer\">Justice for Zumbi\u003c/a> Instagram account.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 869,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 18
},
"modified": 1705006302,
"excerpt": "Zumbi's mother and her attorney are still in talks with the Alameda Country district attorney. ",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Zumbi's mother and her attorney are still in talks with the Alameda Country district attorney. ",
"title": "Criminal Charges in Zumbi Homicide Investigation Still Possible, Family Says | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Criminal Charges in Zumbi Homicide Investigation Still Possible, Family Says",
"datePublished": "2022-10-05T10:38:19-07:00",
"dateModified": "2024-01-11T12:51:42-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "zumbi-homicide-investigation-criminal-charges",
"status": "publish",
"templateType": "standard",
"excludeFromSiteSearch": "Include",
"featuredImageType": "standard",
"sticky": false,
"path": "/arts/13920004/zumbi-homicide-investigation-criminal-charges",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>This story has been updated. \u003c/em>\u003c/p>\n\u003cp>Criminal charges may still be filed for the death of popular Bay Area hip-hop artist Stephen Gaines, best known as Baba Zumbi of the duo Zion I.\u003c/p>\n\u003cp>Gaines died at Alta Bates Summit Medical Center in Berkeley on Aug. 13, 2021, after being held down by three hospital security guards and handcuffed by Berkeley Police officers while unconscious. Berkeley Police investigated the case as a homicide, but did not announce suspects or make arrests.\u003c/p>\n\u003cp>\u003ca href=\"https://www.mercurynews.com/2022/09/30/exclusive-zion-i-rapper-zumbis-death-ruled-a-homicide-but-no-criminal-charges-will-be-filed/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Mercury News\u003c/em>\u003c/a> reported last week that the Alameda Country District Attorney’s office had declined to pursue criminal charges despite the death being ruled a homicide. But Wednesday, after meeting with District Attorney Nancy O’Malley, Gaines’ mother, Carolyn Gaines, and her lawyer, Elizabeth Grossman, released a statement that the D.A. still could bring criminal charges. \u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13901531",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Nothing has been finalized on criminal charges related to my son’s death,” Carolyn Gaines said in a statement. “I feel assured and confident that this case is not over and criminal charges remain likely. I am holding steadfast that the institutions responsible for my son’s death will be held accountable.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In the same statement, Grossman echoed the possibility of criminal charges. “I spoke directly with Nancy O’Malley today and a final decision has not been made,” she said.\u003c/p>\n\u003cp>The district attorney’s office confirmed this development. “We are looking at potential new information. That’s all we can say at this time,” a spokesperson for the district attorney told KQED on Wednesday. \u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "‘If [Zumbi] was having a mental health episode, crisis, whatever, he should still be alive.’",
"name": "pullquote",
"attributes": {
"named": {
"size": "medium",
"align": "right",
"citation": "Liv Styler, friend",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The circumstances surrounding Zumbi’s death have been shrouded in secrecy. Over the past year, KQED repeatedly requested interviews with the Berkeley Police Department and the Alameda County Coroner’s Bureau and did not receive a response, even after Berkeley Police concluded their investigation in August 2022. BPD also denied KQED’s public records request for officer body camera footage from the incident.\u003c/p>\n\u003cp>The slowness of the investigation and lack of transparency has frustrated Zumbi’s loved ones. “I’m infuriated. I’m mad and angry and sad, but I’m not surprised,” said rapper and activist Equipto, Zumbi’s close friend and collaborator, in an interview in August, adding: “I think people power is really the only way that we’re really going to get anything accomplished.”\u003c/p>\n\u003cfigure id=\"attachment_13918677\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918677\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Baba-Zumbi%E2%80%99s-Family-on-the-main-stage-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Baba-Zumbi’s-Family-on-the-main-stage-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Baba-Zumbi’s-Family-on-the-main-stage-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Baba-Zumbi’s-Family-on-the-main-stage-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Baba-Zumbi’s-Family-on-the-main-stage-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Baba-Zumbi’s-Family-on-the-main-stage-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Baba-Zumbi’s-Family-on-the-main-stage-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Zumbi’s family joins the main stage for the Zion I tribute concert at Hiero Day on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The coroner’s report, obtained by \u003cem>The Mercury News\u003c/em>, revealed previously unknown allegations from Berkeley Police investigators and hospital staff. The report noted that Gaines checked himself in during a mental health crisis during which he experienced suicidal ideation, and was diagnosed with COVID-related pneumonia. According to staff and investigators, prior to his death, Gaines woke up before a CT scan, chased hospital staff through the halls and put a pregnant security guard in a “choke hold.”\u003c/p>\n\u003cp>But family and friends of Zumbi question what happened in those last moments. Those who knew him describe Zumbi as a spiritual practitioner, loving father and kind, supportive friend. \u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "‘I am holding steadfast that the institutions responsible for my son’s death will be held accountable.’",
"name": "pullquote",
"attributes": {
"named": {
"size": "medium",
"align": "right",
"citation": "Carolyn Gaines",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“He was just a really great human. They took a really, really, really amazing person from a lot of people,” said Zumbi’s longtime friend Liv Styler, who added that she didn’t know him to have serious mental health issues. She and others are demanding that the hospital release its security footage.\u003c/p>\n\u003cp>“If he was having a mental health episode, crisis, whatever, he should still be alive,” said Styler. “No matter what version of a mental health situation he was in at the time, they decided it was OK to take his life.”\u003c/p>\n\u003cp>Styler, an activist and \u003ca href=\"https://livmuthafknstyler.medium.com/misuse-of-force-is-an-under-reported-epidemic-in-private-security-and-may-have-played-a-role-in-the-646f2627375\" target=\"_blank\" rel=\"noopener noreferrer\">independent journalist\u003c/a>, said on Tuesday that the incident points to a larger issue: the difficulty in holding private security guards — who have little use-of-force training, and no public oversight — accountable for deaths and injuries. (A \u003ca href=\"https://www.capradio.org/articles/2021/10/28/new-california-law-requires-use-of-force-training-for-security-guards-prompted-by-capradio-investigation/\" target=\"_blank\" rel=\"noopener noreferrer\">new California law\u003c/a> will require use-of-force standards and training for private security in 2023.)\u003c/p>\n\u003cp>Styler is frustrated by the lack of transparency in the investigation. “None of this has been handled well, and no one in the system is ever forced to really think about the kind of detriment that they do to the people who are actually impacted on a day-to-day basis after someone is murdered,” she said. “But for those of us that are still here, it’s like watching him die over and over again.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Styler and others are compiling tributes, and possible future calls to action, on a recently created \u003ca href=\"https://www.instagram.com/justice_for_zumbi/\" target=\"_blank\" rel=\"noopener noreferrer\">Justice for Zumbi\u003c/a> Instagram account.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13920004/zumbi-homicide-investigation-criminal-charges",
"authors": [
"11387"
],
"categories": [
"arts_1",
"arts_235"
],
"tags": [
"arts_1270",
"arts_10278",
"arts_831",
"arts_4730",
"arts_15217",
"arts_15215"
],
"featImg": "arts_13901547",
"label": "arts"
},
"arts_13919818": {
"type": "posts",
"id": "arts_13919818",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13919818",
"score": null,
"sort": [
1664485642000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 140
},
"blocks": [],
"publishDate": 1664485642,
"format": "audio",
"title": "Hua Hsu’s ‘Stay True’ Recaptures a 1990s Berkeley — and a Friendship Lost Too Soon",
"headTitle": "Hua Hsu’s ‘Stay True’ Recaptures a 1990s Berkeley — and a Friendship Lost Too Soon | KQED",
"content": "\u003cp>What were the ’90s? I ask myself this question more and more lately. In the past month, I’ve watched \u003ca href=\"https://www.tiktok.com/@horsesweremylife/video/7143108449130401066?is_copy_url=1&is_from_webapp=v1&item_id=7143108449130401066\" target=\"_blank\" rel=\"noopener noreferrer\">a reunited Pavement\u003c/a> amble through a set of slacker anthems, witnessed \u003ca href=\"https://www.nylon.com/fashion/grunge-90s-fashion-clothes\" target=\"_blank\" rel=\"noopener noreferrer\">high school fashion turn into grunge 2.0\u003c/a>, tried to ignore \u003ca href=\"https://pitchfork.com/features/lists-and-guides/the-best-albums-of-the-1990s/\" target=\"_blank\" rel=\"noopener noreferrer\">dumb internet lists\u003c/a> and endured daily questions about the decade from my 13-year-old daughter. “What was your favorite movie in the ’90s?” she asks me. “Was Weezer cool in the ’90s?” “Is this shirt ’90s?”\u003c/p>\n\u003cp>Movies, music and fashion are all part of the decade, sure. Less easy to recall, 30 years later, is what daily life was actually like, and how people felt most of the time.\u003c/p>\n\u003cp>[aside label=\"Related Stories\" postID=\"forum_2010101889960,forum_2010101882386\"]I devoured Hua Hsu’s \u003cem>Stay True\u003c/em> (Doubleday; $26) in one sitting, finding new answers to the question on every page. A memoir of Hua’s college years at UC Berkeley, \u003cem>Stay True\u003c/em> is primarily about his relationship with his best friend, Ken. Confident, loud and outgoing, Ken belongs to a frat, listens to the Dave Matthews Band and comes from a Japanese American family, “bright and optimistic in a way I found suspect.” In other words: mainstream.\u003c/p>\n\u003cp>Hua, meanwhile, is one of the millions whose outlook was changed by Nirvana. Philosophical, cynical and quiet, he nonetheless strikes up an odd friendship with Ken, who is genuinely curious in his clothes, music and books. The two grow close through smoke breaks and road trips, and stay up late together talking about life. (“We came up with brilliant theories,” Hua writes, “but forgot to write them down.”)\u003c/p>\n\u003cp>Suddenly, Ken is murdered in a senseless carjacking, and nothing is the same. Hua describes his grief: he leans on friends, blames himself, goes to therapy and saves nearly everything Ken left behind. Somehow, some way, he settles into acceptance.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The details of this particular trauma are specific. But to the lingering question — what were the ’90s? — \u003cem>Stay True\u003c/em> also serves as an expertly pieced-together collage of life in Berkeley as a twentysomething in the Clinton years, a snapshot that will be immediately recognizable to readers who came of age in that decade. Part of this is achieved through simple markers, now out of date: the early internet of listservs, mall CD stores, fax machines. The book’s 173 pages are rife with obsolete objects, remembered from journals, clippings from his zine, and the many boxes of ephemera that he’s saved. (Hua is a \u003ca href=\"https://www.nytimes.com/2022/05/11/arts/music/popcast-collecting.html\" target=\"_blank\" rel=\"noopener noreferrer\">prolific caretaker of stuff\u003c/a>.)\u003c/p>\n\u003cp>The other part — the life that happens with the people close to you, around and between the stuff — is what Hua’s so good at capturing. It’s what’s in the faxes from his dad in Taiwan; what’s on the CDs from the mall and how his friends react to it all. \u003cem>Stay True\u003c/em> describes Berkeley institutions like Top Dog, Amoeba, the Daily Cal and Revolution Books; it also nails the experience of shopping at anglophile-indie record store Mod Lang, back when record stores were the only way to access new music, and clerks could afford to be haughty.\u003c/p>\n\u003cfigure id=\"attachment_13919839\" class=\"wp-caption aligncenter\" style=\"max-width: 635px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Hua.inline.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13919839\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Hua.inline.jpg\" alt=\"a young Asian man's student ID against an orange backdrop\" width=\"635\" height=\"357\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Hua.inline.jpg 635w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Hua.inline-160x90.jpg 160w\" sizes=\"(max-width: 635px) 100vw, 635px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Hua Hsu’s UC Berkeley student ID. \u003ccite>(@huahsu/Twitter)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One part early in the book \u003ca href=\"https://www.newyorker.com/magazine/2022/08/22/my-dad-and-kurt-cobain\" target=\"_blank\" rel=\"noopener noreferrer\">describes life in 1980s Cupertino\u003c/a>, among the first wave of software engineers emigrating from Asia. Nostalgia is a curious driver of Hua’s work; he reassembles the past carefully, but not necessarily in the service of a rosy-eyed, things-used-to-be-better view. The Chinese immigrants who moved to the South Bay ten years later, Hua writes, “probably didn’t even know there was once only a single Asian grocer in the area, and it wasn’t even that good, and you had to drive a half hour to get there.”\u003c/p>\n\u003cp>Given the setting in Berkeley, political organizing plays a part in Hua’s life; Jesse Jackson speaks at Sproul Plaza, and Hua’s friends are excited, until three weeks later when he comes to speak again, and then later, again. Hua helps out at the Black Panthers’ storefront, protests the anti-affirmative action initiative Prop. 209, and eventually volunteers at a Richmond youth center and works with prisoners inside San Quentin.\u003c/p>\n\u003cp>What were the ’90s? Honestly, most of it was boredom. Just as important, it was you and your friends’ various ways to alleviate boredom. That’s why I never felt comfortable with the ’90s being known as the “slacker” generation. Hua is bored, but to stave off stagnancy, he is constantly active — he makes zines and mixtapes, gets involved in causes, writes ridiculous movie scripts, marches in protests, saves \u003ca href=\"https://byhuahsu.com/listings\" target=\"_blank\" rel=\"noopener noreferrer\">a lot of things\u003c/a> along the way. He does most of it with a close group of friends by his side.\u003c/p>\n\u003cp>That’s what makes Ken’s death so heartbreaking. What’s worse: boredom or loss? How do you fill the hole left by a dead friend the same way you once filled long stretches of empty time, together? By the end of the book, it becomes clear that Hua’s achievement is the not-so-simple act, 24 years later, of keeping his friend alive.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://www.penguinrandomhouse.com/books/688054/stay-true-by-hua-hsu/\">Stay True\u003c/a>’ is in stores now. \u003c/em>\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 913,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 15
},
"modified": 1705006320,
"excerpt": "A new memoir from the New Yorker staff writer resists easy nostalgia, presenting an honest snapshot of the decade through mixtapes, zines, boredom and grief.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "A new memoir from the New Yorker staff writer resists easy nostalgia, presenting an honest snapshot of the decade through mixtapes, zines, boredom and grief.",
"title": "Hua Hsu’s ‘Stay True’ Recaptures a 1990s Berkeley — and a Friendship Lost Too Soon | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Hua Hsu’s ‘Stay True’ Recaptures a 1990s Berkeley — and a Friendship Lost Too Soon",
"datePublished": "2022-09-29T14:07:22-07:00",
"dateModified": "2024-01-11T12:52:00-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "hua-hsus-stay-true-uc-berkeley-book-review",
"status": "publish",
"templateType": "standard",
"audioUrl": "https://traffic.omny.fm/d/clips/0af137ef-751e-4b19-a055-aaef00d2d578/ffca7e9f-6831-41c5-bcaf-aaef00f5a073/a1b013c9-e1f3-41cf-aeb4-af400149084e/audio.mp3",
"excludeFromSiteSearch": "Include",
"featuredImageType": "standard",
"sticky": false,
"path": "/arts/13919818/hua-hsus-stay-true-uc-berkeley-book-review",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>What were the ’90s? I ask myself this question more and more lately. In the past month, I’ve watched \u003ca href=\"https://www.tiktok.com/@horsesweremylife/video/7143108449130401066?is_copy_url=1&is_from_webapp=v1&item_id=7143108449130401066\" target=\"_blank\" rel=\"noopener noreferrer\">a reunited Pavement\u003c/a> amble through a set of slacker anthems, witnessed \u003ca href=\"https://www.nylon.com/fashion/grunge-90s-fashion-clothes\" target=\"_blank\" rel=\"noopener noreferrer\">high school fashion turn into grunge 2.0\u003c/a>, tried to ignore \u003ca href=\"https://pitchfork.com/features/lists-and-guides/the-best-albums-of-the-1990s/\" target=\"_blank\" rel=\"noopener noreferrer\">dumb internet lists\u003c/a> and endured daily questions about the decade from my 13-year-old daughter. “What was your favorite movie in the ’90s?” she asks me. “Was Weezer cool in the ’90s?” “Is this shirt ’90s?”\u003c/p>\n\u003cp>Movies, music and fashion are all part of the decade, sure. Less easy to recall, 30 years later, is what daily life was actually like, and how people felt most of the time.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"label": "Related Stories ",
"postid": "forum_2010101889960,forum_2010101882386"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>I devoured Hua Hsu’s \u003cem>Stay True\u003c/em> (Doubleday; $26) in one sitting, finding new answers to the question on every page. A memoir of Hua’s college years at UC Berkeley, \u003cem>Stay True\u003c/em> is primarily about his relationship with his best friend, Ken. Confident, loud and outgoing, Ken belongs to a frat, listens to the Dave Matthews Band and comes from a Japanese American family, “bright and optimistic in a way I found suspect.” In other words: mainstream.\u003c/p>\n\u003cp>Hua, meanwhile, is one of the millions whose outlook was changed by Nirvana. Philosophical, cynical and quiet, he nonetheless strikes up an odd friendship with Ken, who is genuinely curious in his clothes, music and books. The two grow close through smoke breaks and road trips, and stay up late together talking about life. (“We came up with brilliant theories,” Hua writes, “but forgot to write them down.”)\u003c/p>\n\u003cp>Suddenly, Ken is murdered in a senseless carjacking, and nothing is the same. Hua describes his grief: he leans on friends, blames himself, goes to therapy and saves nearly everything Ken left behind. Somehow, some way, he settles into acceptance.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The details of this particular trauma are specific. But to the lingering question — what were the ’90s? — \u003cem>Stay True\u003c/em> also serves as an expertly pieced-together collage of life in Berkeley as a twentysomething in the Clinton years, a snapshot that will be immediately recognizable to readers who came of age in that decade. Part of this is achieved through simple markers, now out of date: the early internet of listservs, mall CD stores, fax machines. The book’s 173 pages are rife with obsolete objects, remembered from journals, clippings from his zine, and the many boxes of ephemera that he’s saved. (Hua is a \u003ca href=\"https://www.nytimes.com/2022/05/11/arts/music/popcast-collecting.html\" target=\"_blank\" rel=\"noopener noreferrer\">prolific caretaker of stuff\u003c/a>.)\u003c/p>\n\u003cp>The other part — the life that happens with the people close to you, around and between the stuff — is what Hua’s so good at capturing. It’s what’s in the faxes from his dad in Taiwan; what’s on the CDs from the mall and how his friends react to it all. \u003cem>Stay True\u003c/em> describes Berkeley institutions like Top Dog, Amoeba, the Daily Cal and Revolution Books; it also nails the experience of shopping at anglophile-indie record store Mod Lang, back when record stores were the only way to access new music, and clerks could afford to be haughty.\u003c/p>\n\u003cfigure id=\"attachment_13919839\" class=\"wp-caption aligncenter\" style=\"max-width: 635px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Hua.inline.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13919839\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Hua.inline.jpg\" alt=\"a young Asian man's student ID against an orange backdrop\" width=\"635\" height=\"357\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Hua.inline.jpg 635w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Hua.inline-160x90.jpg 160w\" sizes=\"(max-width: 635px) 100vw, 635px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Hua Hsu’s UC Berkeley student ID. \u003ccite>(@huahsu/Twitter)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One part early in the book \u003ca href=\"https://www.newyorker.com/magazine/2022/08/22/my-dad-and-kurt-cobain\" target=\"_blank\" rel=\"noopener noreferrer\">describes life in 1980s Cupertino\u003c/a>, among the first wave of software engineers emigrating from Asia. Nostalgia is a curious driver of Hua’s work; he reassembles the past carefully, but not necessarily in the service of a rosy-eyed, things-used-to-be-better view. The Chinese immigrants who moved to the South Bay ten years later, Hua writes, “probably didn’t even know there was once only a single Asian grocer in the area, and it wasn’t even that good, and you had to drive a half hour to get there.”\u003c/p>\n\u003cp>Given the setting in Berkeley, political organizing plays a part in Hua’s life; Jesse Jackson speaks at Sproul Plaza, and Hua’s friends are excited, until three weeks later when he comes to speak again, and then later, again. Hua helps out at the Black Panthers’ storefront, protests the anti-affirmative action initiative Prop. 209, and eventually volunteers at a Richmond youth center and works with prisoners inside San Quentin.\u003c/p>\n\u003cp>What were the ’90s? Honestly, most of it was boredom. Just as important, it was you and your friends’ various ways to alleviate boredom. That’s why I never felt comfortable with the ’90s being known as the “slacker” generation. Hua is bored, but to stave off stagnancy, he is constantly active — he makes zines and mixtapes, gets involved in causes, writes ridiculous movie scripts, marches in protests, saves \u003ca href=\"https://byhuahsu.com/listings\" target=\"_blank\" rel=\"noopener noreferrer\">a lot of things\u003c/a> along the way. He does most of it with a close group of friends by his side.\u003c/p>\n\u003cp>That’s what makes Ken’s death so heartbreaking. What’s worse: boredom or loss? How do you fill the hole left by a dead friend the same way you once filled long stretches of empty time, together? By the end of the book, it becomes clear that Hua’s achievement is the not-so-simple act, 24 years later, of keeping his friend alive.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://www.penguinrandomhouse.com/books/688054/stay-true-by-hua-hsu/\">Stay True\u003c/a>’ is in stores now. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13919818/hua-hsus-stay-true-uc-berkeley-book-review",
"authors": [
"185"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_73"
],
"tags": [
"arts_1270",
"arts_928",
"arts_6902",
"arts_2836",
"arts_16105",
"arts_7970",
"arts_769",
"arts_905",
"arts_11460"
],
"featImg": "arts_13919828",
"label": "arts_140"
},
"arts_13918872": {
"type": "posts",
"id": "arts_13918872",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13918872",
"score": null,
"sort": [
1662717651000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 8720
},
"blocks": [],
"publishDate": 1662717651,
"format": "audio",
"title": "Permanent Behavior: Collective Ownership + Bodily Autonomy Through Stick-and-Poke",
"headTitle": "Permanent Behavior: Collective Ownership + Bodily Autonomy Through Stick-and-Poke | KQED",
"content": "\u003cp>\u003cem>\u003cstrong>“Permanent Behavior: Getting Tatted in the Bay,” is our\u003ca href=\"https://www.kqed.org/arts/13918368/rightnowish-presents-permanent-behavior-getting-tatted-in-the-bay\"> four-part series\u003c/a>, about local tattoo artists. In these stories, we dive into the permanence of ink as it resides on impermanent beings.\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>Sophia Blum, also known as \u003ca href=\"https://www.instagram.com/pio.poke/\" target=\"_blank\" rel=\"noopener noreferrer\">Pio Poke, \u003c/a>is a master of the stick-and-poke (or hand poke) method of tattooing. With a handheld needle, she creates detailed textile designs and images of feathers, arrows, birds and botanicals.\u003c/p>\n\u003cp>[aside postid='arts_13935864']Her designs are a nod to her Berkley roots, where she grew up with an affinity for flowers. Her personal stick-and-poke style stems from her family roots.\u003c/p>\n\u003cp>“My family is Mennonite,” she says, “and so they do a lot of hand stitching, hand sewing stuff.”\u003c/p>\n\u003cp>It’s amazing what she can do with thin, black lines of permanent ink.\u003c/p>\n\u003cfigure id=\"attachment_13918876\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13918876 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/7EqF2nX4-800x533.jpg\" alt=\"Pio Poke at work!\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/7EqF2nX4-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/7EqF2nX4-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/7EqF2nX4-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/7EqF2nX4-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/7EqF2nX4-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/7EqF2nX4.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sophia Blum, also known as Pio Poke, at work tattooing a client at Thorns Tattoo, Berkeley. \u003ccite>(Beth LaBerge)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On top of being a skilled artist, she’s in the business of changing the industry — after recognizing unfair labor practices within traditional tattoo parlors, where owners get the lion’s share of the the revenue and workers make a small percentage, Blum organized with other artists and formed \u003ca href=\"https://www.instagram.com/thorns.tattoo/\" target=\"_blank\" rel=\"noopener noreferrer\">Thorns Tattoo\u003c/a>, a worker-owned studio.\u003c/p>\n\u003cp>It’s deeper than aesthetics too. Blume has used her craft to support social justice causes by organizing tattoo fundraisers donating the proceeds to folks on the front lines.\u003c/p>\n\u003cfigure id=\"attachment_13918877\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13918877 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/8Sj5o4jA-800x533.jpg\" alt=\"Pamphlets and periodicals at Thorns Tattoo in Berkeley\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/8Sj5o4jA-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/8Sj5o4jA-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/8Sj5o4jA-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/8Sj5o4jA-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/8Sj5o4jA-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/8Sj5o4jA.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pamphlets and periodicals at Thorns Tattoo in Berkeley. \u003ccite>(Beth LaBerge)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For our second episode of ‘Permanent Behavior: Getting Tatted In The Bay’ we talk to Sophia Blum a.k.a. Pio Poke about \u003cem>manually\u003c/em> making her mark, as well as the importance of workers’ rights and bodily autonomy.\u003c/p>\n\u003ch5 id=\"embed-code\" class=\"inconsolata\">\u003cstrong>\u003cbr>\n\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC6346815878&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003cbr>\n\u003c/strong>\u003c/h5>\n\u003cp> \u003c/p>\n\u003cp>\u003cem>Read the episode transcript \u003ca href=\"https://bit.ly/3BsJ1zk\" target=\"_blank\" rel=\"noopener noreferrer\">here.\u003c/a> \u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Below are lightly edited excerpts of my conversation with Sophia Blum a.k.a. Pio Poke. \u003c/strong>\u003c/p>\n\u003cp>\u003cem>Sophia Blum:\u003c/em> \u003cspan style=\"font-weight: 400\">The origins of tattooing is pretty, pretty far back. Stick-and-poke feels like more of a modern iteration, but non-mechanical or non-machine tattoos have been around for as long as like humans have been wanting to mark their bodies. \u003c/span>\u003c/p>\n\u003cp>\u003cem>Pendarvis Harshaw: \u003cspan style=\"font-weight: 400\">Hand poke or stick-and-poke, that style, in my head is tied to prison tatts or even punk tatts… \u003c/span>\u003c/em>\u003c/p>\n\u003cp>\u003cem>Sophia:\u003c/em> \u003cspan style=\"font-weight: 400\">Sure, sure \u003c/span>\u003cb>\u003c/b>\u003c/p>\n\u003cp>\u003cem>Pen: \u003cspan style=\"font-weight: 400\">You know, like, am I wrong for having that assumption or connection?\u003c/span>\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13918918\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918918\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/008_KQEDArts_TattooArtistSophiaBlum_09012022-800x533.jpg\" alt=\"A hand in a black medical gloves uses a needle to poke ink to a client's shoulder.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/008_KQEDArts_TattooArtistSophiaBlum_09012022-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/008_KQEDArts_TattooArtistSophiaBlum_09012022-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/008_KQEDArts_TattooArtistSophiaBlum_09012022-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/008_KQEDArts_TattooArtistSophiaBlum_09012022-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/008_KQEDArts_TattooArtistSophiaBlum_09012022-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/008_KQEDArts_TattooArtistSophiaBlum_09012022.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sophia Blum specializes in hand poke tattoos. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cem>Sophia:\u003c/em> That’s definitely true. I mean, it’s like the simplest form, you know? So it’s just accessible. You know, all you need is like a needle or something pointy and some ink. \u003c/span>\u003cb>\u003c/b>\u003cspan style=\"font-weight: 400\">T\u003c/span>\u003cspan style=\"font-weight: 400\">he first tattoos that I ever made were, you know, like a BIC pen and a sewing needle. But that was like when I was like 14 before I knew what I was doing at all\u003c/span>\u003c/p>\n\u003cp>\u003cem>\u003cspan style=\"font-weight: 400\">Pen: \u003c/span>\u003c/em>\u003cem>\u003cspan style=\"font-weight: 400\">Ahh. That sounds aggressive! \u003c/span>\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cspan style=\"font-weight: 400\">Sophia:\u003c/span>\u003c/em>\u003cspan style=\"font-weight: 400\">\u003cem> \u003c/em>It’s not something I would recommend for anybody to do. But I feel like that, you know, like the prison tattoo or the punk tattoo, it’s just kind of what you have. \u003c/span>\u003cspan style=\"font-weight: 400\">It’s a DIY kind of experience. But there’s also just so many simple ways you can make a machine too. I think that simplicity is kind of a part of all of that. But in terms of indigenous tattooing, practices like those have been around so much longer and there’s like a wide range of tools and specific practices that go into that. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13918916\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918916\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/005_KQEDArts_TattooArtistSophiaBlum_09072022-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/005_KQEDArts_TattooArtistSophiaBlum_09072022-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/005_KQEDArts_TattooArtistSophiaBlum_09072022-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/005_KQEDArts_TattooArtistSophiaBlum_09072022-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/005_KQEDArts_TattooArtistSophiaBlum_09072022-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/005_KQEDArts_TattooArtistSophiaBlum_09072022-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/005_KQEDArts_TattooArtistSophiaBlum_09072022.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sophia Blum at Thorns Tattoo Studio in Berkeley. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Pen:\u003cspan style=\"font-weight: 400\"> Perusing your Instagram, I see that you have a lot of influence from like, nature. What’s your connection to flowers?\u003c/span>\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cspan style=\"font-weight: 400\">Sophia\u003c/span>: \u003c/em>\u003cspan style=\"font-weight: 400\">I’ve been a florist for ten years now. Nope! Twelve years. Oh, time is a wild thing!\u003c/span>\u003cspan style=\"font-weight: 400\"> I just have an affinity for plants and flowers and I’m from the Bay — I grew up like hiking, backpacking all around California.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I get all my color work done with the flower side of things, so I don’t really bring it into like tattoos or like my art. \u003c/span>\u003cspan style=\"font-weight: 400\">Working with flowers has taught me everything that I know about design and composition. It’s just sculptural, but it’s also ephemeral. Like, it doesn’t last. You’re working with something that is temporary, and I’ll draw that parallel with tattoos pretty often.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13918899\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13918899 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/016_KQEDArts_TattooArtistSophiaBlum_09012022-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/016_KQEDArts_TattooArtistSophiaBlum_09012022-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/016_KQEDArts_TattooArtistSophiaBlum_09012022-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/016_KQEDArts_TattooArtistSophiaBlum_09012022-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/016_KQEDArts_TattooArtistSophiaBlum_09012022-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/016_KQEDArts_TattooArtistSophiaBlum_09012022-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/016_KQEDArts_TattooArtistSophiaBlum_09012022.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sophia Blum, also known as Pio Poke, tattoos a client at Thorns Tattoo Studio in Berkeley on September 1, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003cspan style=\"font-weight: 400\">Pen\u003c/span>\u003cb>: \u003c/b>\u003cspan style=\"font-weight: 400\">You said something that stuck with me: Tattoos essentially don’t last forever. When I think of tattoos, I think like, that’s probably the most permanent form of art that I can think of — what lasts longer than tattoos, you know? And so why? Why are they impermanent?\u003c/span>\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cspan style=\"font-weight: 400\">Sophia\u003c/span>:\u003c/em>\u003cspan style=\"font-weight: 400\"> To me, I think of it in the opposite sense. Most art lasts so much longer than your body does. Like a painting lasts for hundreds of years. A piece of sculpture will last way longer than the artist itself will last. \u003c/span>\u003cspan style=\"font-weight: 400\">A photograph lasts for a really long time. But you only last as long as you last. Tattooing is essentially just like decorating your vessel, and that can end at any moment. So to me, tattooing is one of the most temporary art forms. \u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts.\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": true,
"hasPolis": false,
"wordCount": 983,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 25
},
"modified": 1705006399,
"excerpt": "Sophia Blum, also known as Pio Poke, is a master of the stick-and-poke (or hand poke) method of tattooing.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Sophia Blum, also known as Pio Poke, is a master of the stick-and-poke (or hand poke) method of tattooing.",
"title": "Permanent Behavior: Collective Ownership + Bodily Autonomy Through Stick-and-Poke | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Permanent Behavior: Collective Ownership + Bodily Autonomy Through Stick-and-Poke",
"datePublished": "2022-09-09T03:00:51-07:00",
"dateModified": "2024-01-11T12:53:19-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "permanent-behavior-collective-ownership-bodily-autonomy-through-stick-and-poke",
"status": "publish",
"templateType": "standard",
"audioUrl": "https://www.podtrac.com/pts/redirect.mp3/traffic.megaphone.fm/KQINC6346815878.mp3?updated=1662682155",
"excludeFromSiteSearch": "Include",
"featuredImageType": "standard",
"sticky": false,
"articleAge": "0",
"path": "/arts/13918872/permanent-behavior-collective-ownership-bodily-autonomy-through-stick-and-poke",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>“Permanent Behavior: Getting Tatted in the Bay,” is our\u003ca href=\"https://www.kqed.org/arts/13918368/rightnowish-presents-permanent-behavior-getting-tatted-in-the-bay\"> four-part series\u003c/a>, about local tattoo artists. In these stories, we dive into the permanence of ink as it resides on impermanent beings.\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>Sophia Blum, also known as \u003ca href=\"https://www.instagram.com/pio.poke/\" target=\"_blank\" rel=\"noopener noreferrer\">Pio Poke, \u003c/a>is a master of the stick-and-poke (or hand poke) method of tattooing. With a handheld needle, she creates detailed textile designs and images of feathers, arrows, birds and botanicals.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13935864",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Her designs are a nod to her Berkley roots, where she grew up with an affinity for flowers. Her personal stick-and-poke style stems from her family roots.\u003c/p>\n\u003cp>“My family is Mennonite,” she says, “and so they do a lot of hand stitching, hand sewing stuff.”\u003c/p>\n\u003cp>It’s amazing what she can do with thin, black lines of permanent ink.\u003c/p>\n\u003cfigure id=\"attachment_13918876\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13918876 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/7EqF2nX4-800x533.jpg\" alt=\"Pio Poke at work!\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/7EqF2nX4-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/7EqF2nX4-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/7EqF2nX4-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/7EqF2nX4-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/7EqF2nX4-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/7EqF2nX4.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sophia Blum, also known as Pio Poke, at work tattooing a client at Thorns Tattoo, Berkeley. \u003ccite>(Beth LaBerge)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On top of being a skilled artist, she’s in the business of changing the industry — after recognizing unfair labor practices within traditional tattoo parlors, where owners get the lion’s share of the the revenue and workers make a small percentage, Blum organized with other artists and formed \u003ca href=\"https://www.instagram.com/thorns.tattoo/\" target=\"_blank\" rel=\"noopener noreferrer\">Thorns Tattoo\u003c/a>, a worker-owned studio.\u003c/p>\n\u003cp>It’s deeper than aesthetics too. Blume has used her craft to support social justice causes by organizing tattoo fundraisers donating the proceeds to folks on the front lines.\u003c/p>\n\u003cfigure id=\"attachment_13918877\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13918877 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/8Sj5o4jA-800x533.jpg\" alt=\"Pamphlets and periodicals at Thorns Tattoo in Berkeley\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/8Sj5o4jA-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/8Sj5o4jA-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/8Sj5o4jA-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/8Sj5o4jA-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/8Sj5o4jA-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/8Sj5o4jA.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pamphlets and periodicals at Thorns Tattoo in Berkeley. \u003ccite>(Beth LaBerge)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For our second episode of ‘Permanent Behavior: Getting Tatted In The Bay’ we talk to Sophia Blum a.k.a. Pio Poke about \u003cem>manually\u003c/em> making her mark, as well as the importance of workers’ rights and bodily autonomy.\u003c/p>\n\u003ch5 id=\"embed-code\" class=\"inconsolata\">\u003cstrong>\u003cbr>\n\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC6346815878&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003cbr>\n\u003c/strong>\u003c/h5>\n\u003cp> \u003c/p>\n\u003cp>\u003cem>Read the episode transcript \u003ca href=\"https://bit.ly/3BsJ1zk\" target=\"_blank\" rel=\"noopener noreferrer\">here.\u003c/a> \u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Below are lightly edited excerpts of my conversation with Sophia Blum a.k.a. Pio Poke. \u003c/strong>\u003c/p>\n\u003cp>\u003cem>Sophia Blum:\u003c/em> \u003cspan style=\"font-weight: 400\">The origins of tattooing is pretty, pretty far back. Stick-and-poke feels like more of a modern iteration, but non-mechanical or non-machine tattoos have been around for as long as like humans have been wanting to mark their bodies. \u003c/span>\u003c/p>\n\u003cp>\u003cem>Pendarvis Harshaw: \u003cspan style=\"font-weight: 400\">Hand poke or stick-and-poke, that style, in my head is tied to prison tatts or even punk tatts… \u003c/span>\u003c/em>\u003c/p>\n\u003cp>\u003cem>Sophia:\u003c/em> \u003cspan style=\"font-weight: 400\">Sure, sure \u003c/span>\u003cb>\u003c/b>\u003c/p>\n\u003cp>\u003cem>Pen: \u003cspan style=\"font-weight: 400\">You know, like, am I wrong for having that assumption or connection?\u003c/span>\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13918918\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918918\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/008_KQEDArts_TattooArtistSophiaBlum_09012022-800x533.jpg\" alt=\"A hand in a black medical gloves uses a needle to poke ink to a client's shoulder.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/008_KQEDArts_TattooArtistSophiaBlum_09012022-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/008_KQEDArts_TattooArtistSophiaBlum_09012022-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/008_KQEDArts_TattooArtistSophiaBlum_09012022-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/008_KQEDArts_TattooArtistSophiaBlum_09012022-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/008_KQEDArts_TattooArtistSophiaBlum_09012022-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/008_KQEDArts_TattooArtistSophiaBlum_09012022.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sophia Blum specializes in hand poke tattoos. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cem>Sophia:\u003c/em> That’s definitely true. I mean, it’s like the simplest form, you know? So it’s just accessible. You know, all you need is like a needle or something pointy and some ink. \u003c/span>\u003cb>\u003c/b>\u003cspan style=\"font-weight: 400\">T\u003c/span>\u003cspan style=\"font-weight: 400\">he first tattoos that I ever made were, you know, like a BIC pen and a sewing needle. But that was like when I was like 14 before I knew what I was doing at all\u003c/span>\u003c/p>\n\u003cp>\u003cem>\u003cspan style=\"font-weight: 400\">Pen: \u003c/span>\u003c/em>\u003cem>\u003cspan style=\"font-weight: 400\">Ahh. That sounds aggressive! \u003c/span>\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cspan style=\"font-weight: 400\">Sophia:\u003c/span>\u003c/em>\u003cspan style=\"font-weight: 400\">\u003cem> \u003c/em>It’s not something I would recommend for anybody to do. But I feel like that, you know, like the prison tattoo or the punk tattoo, it’s just kind of what you have. \u003c/span>\u003cspan style=\"font-weight: 400\">It’s a DIY kind of experience. But there’s also just so many simple ways you can make a machine too. I think that simplicity is kind of a part of all of that. But in terms of indigenous tattooing, practices like those have been around so much longer and there’s like a wide range of tools and specific practices that go into that. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13918916\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918916\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/005_KQEDArts_TattooArtistSophiaBlum_09072022-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/005_KQEDArts_TattooArtistSophiaBlum_09072022-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/005_KQEDArts_TattooArtistSophiaBlum_09072022-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/005_KQEDArts_TattooArtistSophiaBlum_09072022-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/005_KQEDArts_TattooArtistSophiaBlum_09072022-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/005_KQEDArts_TattooArtistSophiaBlum_09072022-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/005_KQEDArts_TattooArtistSophiaBlum_09072022.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sophia Blum at Thorns Tattoo Studio in Berkeley. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Pen:\u003cspan style=\"font-weight: 400\"> Perusing your Instagram, I see that you have a lot of influence from like, nature. What’s your connection to flowers?\u003c/span>\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cspan style=\"font-weight: 400\">Sophia\u003c/span>: \u003c/em>\u003cspan style=\"font-weight: 400\">I’ve been a florist for ten years now. Nope! Twelve years. Oh, time is a wild thing!\u003c/span>\u003cspan style=\"font-weight: 400\"> I just have an affinity for plants and flowers and I’m from the Bay — I grew up like hiking, backpacking all around California.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I get all my color work done with the flower side of things, so I don’t really bring it into like tattoos or like my art. \u003c/span>\u003cspan style=\"font-weight: 400\">Working with flowers has taught me everything that I know about design and composition. It’s just sculptural, but it’s also ephemeral. Like, it doesn’t last. You’re working with something that is temporary, and I’ll draw that parallel with tattoos pretty often.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13918899\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13918899 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/016_KQEDArts_TattooArtistSophiaBlum_09012022-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/016_KQEDArts_TattooArtistSophiaBlum_09012022-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/016_KQEDArts_TattooArtistSophiaBlum_09012022-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/016_KQEDArts_TattooArtistSophiaBlum_09012022-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/016_KQEDArts_TattooArtistSophiaBlum_09012022-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/016_KQEDArts_TattooArtistSophiaBlum_09012022-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/016_KQEDArts_TattooArtistSophiaBlum_09012022.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sophia Blum, also known as Pio Poke, tattoos a client at Thorns Tattoo Studio in Berkeley on September 1, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003cspan style=\"font-weight: 400\">Pen\u003c/span>\u003cb>: \u003c/b>\u003cspan style=\"font-weight: 400\">You said something that stuck with me: Tattoos essentially don’t last forever. When I think of tattoos, I think like, that’s probably the most permanent form of art that I can think of — what lasts longer than tattoos, you know? And so why? Why are they impermanent?\u003c/span>\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cspan style=\"font-weight: 400\">Sophia\u003c/span>:\u003c/em>\u003cspan style=\"font-weight: 400\"> To me, I think of it in the opposite sense. Most art lasts so much longer than your body does. Like a painting lasts for hundreds of years. A piece of sculpture will last way longer than the artist itself will last. \u003c/span>\u003cspan style=\"font-weight: 400\">A photograph lasts for a really long time. But you only last as long as you last. Tattooing is essentially just like decorating your vessel, and that can end at any moment. So to me, tattooing is one of the most temporary art forms. \u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts.\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13918872/permanent-behavior-collective-ownership-bodily-autonomy-through-stick-and-poke",
"authors": [
"11491",
"11528"
],
"programs": [
"arts_8720"
],
"categories": [
"arts_1",
"arts_21759"
],
"tags": [
"arts_1270",
"arts_10278",
"arts_2639",
"arts_3226",
"arts_18522",
"arts_4640",
"arts_6764",
"arts_5265",
"arts_3224"
],
"featImg": "arts_13918897",
"label": "arts_8720"
},
"arts_13918498": {
"type": "posts",
"id": "arts_13918498",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13918498",
"score": null,
"sort": [
1662112832000
]
},
"guestAuthors": [],
"slug": "permanent-behavior-with-miguel-bounce-perez",
"title": "Permanent Behavior: Repping 'Cali-Chicano' Tattoo Style",
"publishDate": 1662112832,
"format": "audio",
"headTitle": "Permanent Behavior: Repping ‘Cali-Chicano’ Tattoo Style | KQED",
"labelTerm": {},
"content": "\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC6818480529&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>“Permanent Behavior: Getting Tatted in the Bay,” is our\u003ca href=\"https://www.kqed.org/arts/13918368/rightnowish-presents-permanent-behavior-getting-tatted-in-the-bay\"> four-part series\u003c/a>, about local tattoo artists. In these stories, we dive into the permanence of ink as it resides on impermanent beings.\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>\u003cem>Read the transcript \u003ca href=\"https://bit.ly/3cFNogV\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>Tattoo artist \u003ca class=\"c-link\" href=\"https://www.instagram.com/misterbouncer/\" target=\"_blank\" rel=\"noopener noreferrer\" data-stringify-link=\"https://www.instagram.com/misterbouncer/\" data-sk=\"tooltip_parent\" data-remove-tab-index=\"true\">Miguel “Bounce” Perez\u003c/a> has vivid childhood memories of art created by his family: His mother drew “chola-style” portraits of women with feathered hair and sharp brows, while his uncles created lettering in “Cali-Chicano” Old English script. His father was part of a car club in his West Berkeley community, a neighborhood that was also home to a number of graffiti murals.\u003c/p>\n\u003cfigure id=\"attachment_13918596\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918596\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/005_KQEDArts_TattooArtistMiguelBouncePerez_08312022-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/005_KQEDArts_TattooArtistMiguelBouncePerez_08312022-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/005_KQEDArts_TattooArtistMiguelBouncePerez_08312022-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/005_KQEDArts_TattooArtistMiguelBouncePerez_08312022-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/005_KQEDArts_TattooArtistMiguelBouncePerez_08312022-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/005_KQEDArts_TattooArtistMiguelBouncePerez_08312022-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/005_KQEDArts_TattooArtistMiguelBouncePerez_08312022.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Miguel “Bounce”Perez at the new location of Philthy Clean Tattoo in Berkeley on Aug. 31, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>All of this poured into Perez, and laid the foundation for what he does today.\u003c/p>\n\u003cp>[aside postid='arts_13935864']He’s a versatile artist, who sees collaboration with his clients as central to his work. He’s done touch-ups for people who’ve been incarcerated, and even inked a team of mathletes. His art is detailed and graphic, ranging from Mayan goddesses to anime characters.\u003c/p>\n\u003cp>Perez says he doesn’t have a “specialty,” but he’s often asked to do cover-ups of faded tattoos; a community service of sorts.\u003c/p>\n\u003cp>He’s also part of the art collective\u003ca href=\"https://www.trustyourstruggle.org/\"> Trust Your Struggle\u003c/a>, which paints murals in other countries that have been historically colonized and thus, under-resourced.\u003c/p>\n\u003cfigure id=\"attachment_13918626\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13918626 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/016_KQEDArts_TattooArtistMiguelBouncePerez_08312022-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/016_KQEDArts_TattooArtistMiguelBouncePerez_08312022-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/016_KQEDArts_TattooArtistMiguelBouncePerez_08312022-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/016_KQEDArts_TattooArtistMiguelBouncePerez_08312022-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/016_KQEDArts_TattooArtistMiguelBouncePerez_08312022-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/016_KQEDArts_TattooArtistMiguelBouncePerez_08312022-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/016_KQEDArts_TattooArtistMiguelBouncePerez_08312022.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Miguel Bounce Perez works with Lindsey Tran to create her leg and sleeve tattoos at the new location of Philthy Clean Tattoo in Berkeley. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Given Perez’s experiences with both impermanent aerosol and indelible ink, I figured he’d be the best person to start this exploration into the culture of tattooing in the Bay Area, and what it feels like to create \u003cem>permanent\u003c/em> artwork— if such a thing exists.\u003c/p>\n\u003cp>\u003cstrong>Below are lightly edited excerpts of my conversation with Miguel “Bounce” Perez:\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Pen: \u003cspan style=\"font-weight: 400\">Bring us back to the origins, how’d you get started in art in general?\u003c/span>\u003c/em>\u003c/p>\n\u003cp>\u003cem>Miguel:\u003c/em> \u003cspan style=\"font-weight: 400\">The first influences are like from my mom. \u003c/span>\u003cspan style=\"font-weight: 400\">She used to draw these kind of chola drawings, you know, the Chicano style cholas with feathered hair, all nice and detailed. \u003c/span>\u003cspan style=\"font-weight: 400\">I remember I used to create my own little comic characters and my uncles drew too. They all kind of did that same kind of that Cali-Chicano style. My uncles did the cholo letters. We’d see them around the house, like written on books and all this stuff. \u003c/span>\u003c/p>\n\u003cp>\u003cem>\u003cspan style=\"font-weight: 400\">Pen: \u003c/span>\u003cspan style=\"font-weight: 400\">So how did, how did Berkeley, as a city, pour into your work as an artist?\u003c/span>\u003c/em>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cem>Miguel:\u003c/em> \u003c/span>\u003cspan style=\"font-weight: 400\">I feel like there’s a lot of murals around Berkeley that influenced me. The Che mural, the West Campus one, the recycling mural that was on MLK. I went from seeing all the Chicano styles that my family was doing and seeing graff and murals on the street. I think that definitely seeped its way in. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13918624\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13918624 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/022_KQEDArts_TattooArtistMiguelBouncePerez_08312022-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/022_KQEDArts_TattooArtistMiguelBouncePerez_08312022-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/022_KQEDArts_TattooArtistMiguelBouncePerez_08312022-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/022_KQEDArts_TattooArtistMiguelBouncePerez_08312022-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/022_KQEDArts_TattooArtistMiguelBouncePerez_08312022-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/022_KQEDArts_TattooArtistMiguelBouncePerez_08312022-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/022_KQEDArts_TattooArtistMiguelBouncePerez_08312022.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Miguel Bounce Perez tattoos the sleeve of Lindsey Tran at the new location of Philthy Clean Tattoo in Berkeley. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003cspan style=\"font-weight: 400\">Pen: Miguel also came up with a crew known as Trust Your Struggle. The collective of artists do work for low or no cost in communities that could benefit from murals or other visual art that supports local culture. They started in 2003, and they’ve done work not only in the Bay but in Hawaii and the Philippines, and other places. \u003c/span>\u003c/em>\u003c/p>\n\u003cp>\u003cb>\u003cspan style=\"font-weight: 400\">\u003cem>Miguel\u003c/em>\u003c/span>:\u003c/b> \u003cspan style=\"font-weight: 400\">T\u003c/span>\u003cspan style=\"font-weight: 400\">rust Your Struggle it was definitely like-minded folks who had a lot of the same passions and same views on the world, politics and life and everything. I think we’re more just like a crew of homies. \u003c/span>\u003cspan style=\"font-weight: 400\">Some of the earlier things we were doing was these mural tours. We went started in Mexico and like worked our way down, on bus all the way to Nicaragua. Basically donated murals, linked up with different organizations and painted. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cem>Miguel:\u003c/em> I remember one of the last ones we did in 2009, we went to the Philippines. \u003c/span>\u003cspan style=\"font-weight: 400\">We were meeting up with these orgs and stuff. Like this was the one we’d probably raised the most money for and we get out there and we’re like, ‘Yeah, we’re gonna do this mural for y’all, it’s free, blah, blah, blah.’ And they’re like, ‘Great, this is beautiful.’ And then we see like how they living and they’re like, ‘Oh shit. Like, they don’t need a mural. They need food, some clothes.’ \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13918597\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918597\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/032_KQEDArts_TattooArtistMiguelBouncePerez_08312022-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/032_KQEDArts_TattooArtistMiguelBouncePerez_08312022-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/032_KQEDArts_TattooArtistMiguelBouncePerez_08312022-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/032_KQEDArts_TattooArtistMiguelBouncePerez_08312022-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/032_KQEDArts_TattooArtistMiguelBouncePerez_08312022-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/032_KQEDArts_TattooArtistMiguelBouncePerez_08312022-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/032_KQEDArts_TattooArtistMiguelBouncePerez_08312022.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Miguel Bounce Perez continues working on Lindsey Tran’s sleeve at Philthy Clean Tattoo in Berkeley. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cem>Miguel: \u003c/em>It humbled us. You ain’t gonna save the world with a painting. It might look pretty. So, some of us have got more into, actual legislation. My boy \u003ca href=\"https://www.kqed.org/arts/13918019/robert-liu-trujillo-on-creating-books-for-kids-like-me\">Rob [Liu-Trujillo]\u003c/a> is, like, doing, like, children’s books.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cem>Miguel: \u003c/em>I’m doing tattoos, which is just like not like a political thing, but the thing that’s cool about tattoos, it’s always some transitional period in most people’s lives when they’re getting it. And it’s pretty cool to share that with them and even help guide them through it. \u003c/span>\u003c/p>\n\u003cp>\u003cem>\u003cb>\u003cspan style=\"font-weight: 400\">Pen\u003c/span>: \u003c/b>\u003cspan style=\"font-weight: 400\">That’s so tight, bro, like thinking about life in those transitional periods and change is the only constant. But to get something to signify that you’ve gone through a transitional period is to say that ‘I want something to last forever from this doorway that I’m going through.’ And you’re more or less holding that door open or helping construct the doorway.\u003c/span>\u003c/em>\u003c/p>\n\u003cp>\u003cem>Miguel:\u003c/em>\u003cspan style=\"font-weight: 400\">\u003cem> \u003c/em>Even sometimes I’m closing it, like, don’t go through that door! \u003c/span>\u003cspan style=\"font-weight: 400\">I don’t know if you want that door. [laughs]\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13918620\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13918620 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/027_KQEDArts_TattooArtistMiguelBouncePerez_08312022-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/027_KQEDArts_TattooArtistMiguelBouncePerez_08312022-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/027_KQEDArts_TattooArtistMiguelBouncePerez_08312022-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/027_KQEDArts_TattooArtistMiguelBouncePerez_08312022-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/027_KQEDArts_TattooArtistMiguelBouncePerez_08312022-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/027_KQEDArts_TattooArtistMiguelBouncePerez_08312022-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/027_KQEDArts_TattooArtistMiguelBouncePerez_08312022.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The neon sign for Philthy Clean Tattoo in Berkeley. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
"blocks": [],
"excerpt": "Tattoo artist Miguel \"Bounce\" Perez takes inspiration from the art created by his family and the West Berkeley neighborhood he grew up in. ",
"status": "publish",
"parent": 0,
"modified": 1726759305,
"stats": {
"hasAudio": true,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 25,
"wordCount": 1106
},
"headData": {
"title": "Permanent Behavior: Repping 'Cali-Chicano' Tattoo Style | KQED",
"description": "Tattoo artist Miguel "Bounce" Perez takes inspiration from the art created by his family and the West Berkeley neighborhood he grew up in. ",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Permanent Behavior: Repping 'Cali-Chicano' Tattoo Style",
"datePublished": "2022-09-02T03:00:32-07:00",
"dateModified": "2024-09-19T08:21:45-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"source": "Food",
"sourceUrl": "https://www.kqed.org/food",
"audioUrl": "https://www.podtrac.com/pts/redirect.mp3/traffic.megaphone.fm/KQINC6818480529.mp3?updated=1662070288",
"sticky": false,
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/13918498/permanent-behavior-with-miguel-bounce-perez",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC6818480529&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>“Permanent Behavior: Getting Tatted in the Bay,” is our\u003ca href=\"https://www.kqed.org/arts/13918368/rightnowish-presents-permanent-behavior-getting-tatted-in-the-bay\"> four-part series\u003c/a>, about local tattoo artists. In these stories, we dive into the permanence of ink as it resides on impermanent beings.\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>\u003cem>Read the transcript \u003ca href=\"https://bit.ly/3cFNogV\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>Tattoo artist \u003ca class=\"c-link\" href=\"https://www.instagram.com/misterbouncer/\" target=\"_blank\" rel=\"noopener noreferrer\" data-stringify-link=\"https://www.instagram.com/misterbouncer/\" data-sk=\"tooltip_parent\" data-remove-tab-index=\"true\">Miguel “Bounce” Perez\u003c/a> has vivid childhood memories of art created by his family: His mother drew “chola-style” portraits of women with feathered hair and sharp brows, while his uncles created lettering in “Cali-Chicano” Old English script. His father was part of a car club in his West Berkeley community, a neighborhood that was also home to a number of graffiti murals.\u003c/p>\n\u003cfigure id=\"attachment_13918596\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918596\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/005_KQEDArts_TattooArtistMiguelBouncePerez_08312022-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/005_KQEDArts_TattooArtistMiguelBouncePerez_08312022-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/005_KQEDArts_TattooArtistMiguelBouncePerez_08312022-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/005_KQEDArts_TattooArtistMiguelBouncePerez_08312022-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/005_KQEDArts_TattooArtistMiguelBouncePerez_08312022-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/005_KQEDArts_TattooArtistMiguelBouncePerez_08312022-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/005_KQEDArts_TattooArtistMiguelBouncePerez_08312022.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Miguel “Bounce”Perez at the new location of Philthy Clean Tattoo in Berkeley on Aug. 31, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>All of this poured into Perez, and laid the foundation for what he does today.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13935864",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>He’s a versatile artist, who sees collaboration with his clients as central to his work. He’s done touch-ups for people who’ve been incarcerated, and even inked a team of mathletes. His art is detailed and graphic, ranging from Mayan goddesses to anime characters.\u003c/p>\n\u003cp>Perez says he doesn’t have a “specialty,” but he’s often asked to do cover-ups of faded tattoos; a community service of sorts.\u003c/p>\n\u003cp>He’s also part of the art collective\u003ca href=\"https://www.trustyourstruggle.org/\"> Trust Your Struggle\u003c/a>, which paints murals in other countries that have been historically colonized and thus, under-resourced.\u003c/p>\n\u003cfigure id=\"attachment_13918626\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13918626 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/016_KQEDArts_TattooArtistMiguelBouncePerez_08312022-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/016_KQEDArts_TattooArtistMiguelBouncePerez_08312022-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/016_KQEDArts_TattooArtistMiguelBouncePerez_08312022-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/016_KQEDArts_TattooArtistMiguelBouncePerez_08312022-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/016_KQEDArts_TattooArtistMiguelBouncePerez_08312022-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/016_KQEDArts_TattooArtistMiguelBouncePerez_08312022-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/016_KQEDArts_TattooArtistMiguelBouncePerez_08312022.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Miguel Bounce Perez works with Lindsey Tran to create her leg and sleeve tattoos at the new location of Philthy Clean Tattoo in Berkeley. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Given Perez’s experiences with both impermanent aerosol and indelible ink, I figured he’d be the best person to start this exploration into the culture of tattooing in the Bay Area, and what it feels like to create \u003cem>permanent\u003c/em> artwork— if such a thing exists.\u003c/p>\n\u003cp>\u003cstrong>Below are lightly edited excerpts of my conversation with Miguel “Bounce” Perez:\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Pen: \u003cspan style=\"font-weight: 400\">Bring us back to the origins, how’d you get started in art in general?\u003c/span>\u003c/em>\u003c/p>\n\u003cp>\u003cem>Miguel:\u003c/em> \u003cspan style=\"font-weight: 400\">The first influences are like from my mom. \u003c/span>\u003cspan style=\"font-weight: 400\">She used to draw these kind of chola drawings, you know, the Chicano style cholas with feathered hair, all nice and detailed. \u003c/span>\u003cspan style=\"font-weight: 400\">I remember I used to create my own little comic characters and my uncles drew too. They all kind of did that same kind of that Cali-Chicano style. My uncles did the cholo letters. We’d see them around the house, like written on books and all this stuff. \u003c/span>\u003c/p>\n\u003cp>\u003cem>\u003cspan style=\"font-weight: 400\">Pen: \u003c/span>\u003cspan style=\"font-weight: 400\">So how did, how did Berkeley, as a city, pour into your work as an artist?\u003c/span>\u003c/em>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cem>Miguel:\u003c/em> \u003c/span>\u003cspan style=\"font-weight: 400\">I feel like there’s a lot of murals around Berkeley that influenced me. The Che mural, the West Campus one, the recycling mural that was on MLK. I went from seeing all the Chicano styles that my family was doing and seeing graff and murals on the street. I think that definitely seeped its way in. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13918624\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13918624 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/022_KQEDArts_TattooArtistMiguelBouncePerez_08312022-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/022_KQEDArts_TattooArtistMiguelBouncePerez_08312022-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/022_KQEDArts_TattooArtistMiguelBouncePerez_08312022-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/022_KQEDArts_TattooArtistMiguelBouncePerez_08312022-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/022_KQEDArts_TattooArtistMiguelBouncePerez_08312022-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/022_KQEDArts_TattooArtistMiguelBouncePerez_08312022-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/022_KQEDArts_TattooArtistMiguelBouncePerez_08312022.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Miguel Bounce Perez tattoos the sleeve of Lindsey Tran at the new location of Philthy Clean Tattoo in Berkeley. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003cspan style=\"font-weight: 400\">Pen: Miguel also came up with a crew known as Trust Your Struggle. The collective of artists do work for low or no cost in communities that could benefit from murals or other visual art that supports local culture. They started in 2003, and they’ve done work not only in the Bay but in Hawaii and the Philippines, and other places. \u003c/span>\u003c/em>\u003c/p>\n\u003cp>\u003cb>\u003cspan style=\"font-weight: 400\">\u003cem>Miguel\u003c/em>\u003c/span>:\u003c/b> \u003cspan style=\"font-weight: 400\">T\u003c/span>\u003cspan style=\"font-weight: 400\">rust Your Struggle it was definitely like-minded folks who had a lot of the same passions and same views on the world, politics and life and everything. I think we’re more just like a crew of homies. \u003c/span>\u003cspan style=\"font-weight: 400\">Some of the earlier things we were doing was these mural tours. We went started in Mexico and like worked our way down, on bus all the way to Nicaragua. Basically donated murals, linked up with different organizations and painted. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cem>Miguel:\u003c/em> I remember one of the last ones we did in 2009, we went to the Philippines. \u003c/span>\u003cspan style=\"font-weight: 400\">We were meeting up with these orgs and stuff. Like this was the one we’d probably raised the most money for and we get out there and we’re like, ‘Yeah, we’re gonna do this mural for y’all, it’s free, blah, blah, blah.’ And they’re like, ‘Great, this is beautiful.’ And then we see like how they living and they’re like, ‘Oh shit. Like, they don’t need a mural. They need food, some clothes.’ \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13918597\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918597\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/032_KQEDArts_TattooArtistMiguelBouncePerez_08312022-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/032_KQEDArts_TattooArtistMiguelBouncePerez_08312022-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/032_KQEDArts_TattooArtistMiguelBouncePerez_08312022-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/032_KQEDArts_TattooArtistMiguelBouncePerez_08312022-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/032_KQEDArts_TattooArtistMiguelBouncePerez_08312022-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/032_KQEDArts_TattooArtistMiguelBouncePerez_08312022-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/032_KQEDArts_TattooArtistMiguelBouncePerez_08312022.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Miguel Bounce Perez continues working on Lindsey Tran’s sleeve at Philthy Clean Tattoo in Berkeley. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cem>Miguel: \u003c/em>It humbled us. You ain’t gonna save the world with a painting. It might look pretty. So, some of us have got more into, actual legislation. My boy \u003ca href=\"https://www.kqed.org/arts/13918019/robert-liu-trujillo-on-creating-books-for-kids-like-me\">Rob [Liu-Trujillo]\u003c/a> is, like, doing, like, children’s books.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cem>Miguel: \u003c/em>I’m doing tattoos, which is just like not like a political thing, but the thing that’s cool about tattoos, it’s always some transitional period in most people’s lives when they’re getting it. And it’s pretty cool to share that with them and even help guide them through it. \u003c/span>\u003c/p>\n\u003cp>\u003cem>\u003cb>\u003cspan style=\"font-weight: 400\">Pen\u003c/span>: \u003c/b>\u003cspan style=\"font-weight: 400\">That’s so tight, bro, like thinking about life in those transitional periods and change is the only constant. But to get something to signify that you’ve gone through a transitional period is to say that ‘I want something to last forever from this doorway that I’m going through.’ And you’re more or less holding that door open or helping construct the doorway.\u003c/span>\u003c/em>\u003c/p>\n\u003cp>\u003cem>Miguel:\u003c/em>\u003cspan style=\"font-weight: 400\">\u003cem> \u003c/em>Even sometimes I’m closing it, like, don’t go through that door! \u003c/span>\u003cspan style=\"font-weight: 400\">I don’t know if you want that door. [laughs]\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13918620\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13918620 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/027_KQEDArts_TattooArtistMiguelBouncePerez_08312022-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/027_KQEDArts_TattooArtistMiguelBouncePerez_08312022-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/027_KQEDArts_TattooArtistMiguelBouncePerez_08312022-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/027_KQEDArts_TattooArtistMiguelBouncePerez_08312022-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/027_KQEDArts_TattooArtistMiguelBouncePerez_08312022-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/027_KQEDArts_TattooArtistMiguelBouncePerez_08312022-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/027_KQEDArts_TattooArtistMiguelBouncePerez_08312022.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The neon sign for Philthy Clean Tattoo in Berkeley. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13918498/permanent-behavior-with-miguel-bounce-perez",
"authors": [
"11491",
"11528"
],
"programs": [
"arts_8720"
],
"categories": [
"arts_1",
"arts_21759"
],
"tags": [
"arts_1270",
"arts_3419",
"arts_5747",
"arts_1737",
"arts_18522",
"arts_3224"
],
"featImg": "arts_13918593",
"label": "source_arts_13918498"
}
},
"podcastsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"podcasts": {}
},
"radioProgramsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"radioPrograms": {}
},
"programsReducer": {
"all-things-considered": {
"id": "all-things-considered",
"title": "All Things Considered",
"info": "Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. Michel Martin hosts on the weekends.",
"airtime": "MON-FRI 1pm-2pm, 4:30pm-6:30pm\u003cbr />SAT-SUN 5pm-6pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/All-Things-Considered-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/all-things-considered/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/all-things-considered"
},
"american-suburb-podcast": {
"id": "american-suburb-podcast",
"title": "American Suburb: The Podcast",
"tagline": "The flip side of gentrification, told through one town",
"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg",
"officialWebsiteLink": "/news/series/american-suburb-podcast",
"meta": {
"site": "news",
"source": "kqed",
"order": 19
},
"link": "/news/series/american-suburb-podcast/",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/RBrW",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328",
"tuneIn": "https://tunein.com/radio/American-Suburb-p1086805/",
"rss": "https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"
}
},
"baycurious": {
"id": "baycurious",
"title": "Bay Curious",
"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Bay Curious",
"officialWebsiteLink": "/news/series/baycurious",
"meta": {
"site": "news",
"source": "kqed",
"order": 3
},
"link": "/podcasts/baycurious",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/bay-curious/id1172473406",
"npr": "https://www.npr.org/podcasts/500557090/bay-curious",
"rss": "https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast",
"amazon": "https://music.amazon.com/podcasts/9a90d476-aa04-455d-9a4c-0871ed6216d4/bay-curious",
"stitcher": "https://www.stitcher.com/podcast/kqed/bay-curious",
"spotify": "https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"
}
},
"bbc-world-service": {
"id": "bbc-world-service",
"title": "BBC World Service",
"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
"airtime": "MON-FRI 9pm-10pm, TUE-FRI 1am-2am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.bbc.co.uk/sounds/play/live:bbc_world_service",
"meta": {
"site": "news",
"source": "BBC World Service"
},
"link": "/radio/program/bbc-world-service",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2",
"tuneIn": "https://tunein.com/radio/BBC-World-Service-p455581/",
"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report",
"officialWebsiteLink": "/californiareport",
"meta": {
"site": "news",
"source": "kqed",
"order": 8
},
"link": "/californiareport",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-the-california-report/id79681292",
"amazon": "https://music.amazon.com/podcasts/26099305-72af-4542-9dde-ac1807fe36d5/kqed-s-the-california-report",
"npr": "https://www.npr.org/podcasts/432285393/the-california-report",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-the-california-report-podcast-8838",
"rss": "https://ww2.kqed.org/news/tag/tcram/feed/podcast"
}
},
"californiareportmagazine": {
"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Magazine-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report Magazine",
"officialWebsiteLink": "/californiareportmagazine",
"meta": {
"site": "news",
"source": "kqed",
"order": 10
},
"link": "/californiareportmagazine",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-california-report-magazine/id1314750545",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
"npr": "https://www.npr.org/podcasts/564733126/the-california-report-magazine",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-california-report-magazine",
"rss": "https://ww2.kqed.org/news/tag/tcrmag/feed/podcast"
}
},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
"tagline": "Your irreverent guide to the trends redefining our world",
"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/02/CAT_2_Tile-scaled.jpg",
"imageAlt": "KQED Close All Tabs",
"officialWebsiteLink": "/podcasts/closealltabs",
"meta": {
"site": "news",
"source": "kqed",
"order": 1
},
"link": "/podcasts/closealltabs",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/close-all-tabs/id214663465",
"rss": "https://feeds.megaphone.fm/KQINC6993880386",
"amazon": "https://music.amazon.com/podcasts/92d9d4ac-67a3-4eed-b10a-fb45d45b1ef2/close-all-tabs",
"spotify": "https://open.spotify.com/show/6LAJFHnGK1pYXYzv6SIol6?si=deb0cae19813417c"
}
},
"code-switch-life-kit": {
"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
"airtime": "SUN 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/code-switch-life-kit",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
"spotify": "https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV",
"rss": "https://feeds.npr.org/510312/podcast.xml"
}
},
"commonwealth-club": {
"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.commonwealthclub.org/podcasts",
"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2",
"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
"tuneIn": "https://tunein.com/radio/Commonwealth-Club-of-California-p1060/"
}
},
"forum": {
"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
"officialWebsiteLink": "/forum",
"meta": {
"site": "news",
"source": "kqed",
"order": 9
},
"link": "/forum",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-forum/id73329719",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
"npr": "https://www.npr.org/podcasts/432307980/forum",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-forum-podcast",
"rss": "https://feeds.megaphone.fm/KQINC9557381633"
}
},
"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
"airtime": "MON-FRI 7pm-8pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Fresh-Air-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/fresh-air/",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/fresh-air",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Fresh-Air-p17/",
"rss": "https://feeds.npr.org/381444908/podcast.xml"
}
},
"here-and-now": {
"id": "here-and-now",
"title": "Here & Now",
"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
"airtime": "MON-THU 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Here-And-Now-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://www.wbur.org/hereandnow",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/here-and-now",
"subsdcribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=426698661",
"tuneIn": "https://tunein.com/radio/Here--Now-p211/",
"rss": "https://feeds.npr.org/510051/podcast.xml"
}
},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/hiddenbrain.jpg",
"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
"site": "news",
"source": "NPR"
},
"link": "/radio/program/hidden-brain",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/hidden-brain/id1028908750?mt=2",
"tuneIn": "https://tunein.com/podcasts/Science-Podcasts/Hidden-Brain-p787503/",
"rss": "https://feeds.npr.org/510308/podcast.xml"
}
},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
"tuneIn": "https://tunein.com/podcasts/Arts--Culture-Podcasts/How-I-Built-This-p910896/",
"rss": "https://feeds.npr.org/510313/podcast.xml"
}
},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
"imageAlt": "KQED Hyphenación",
"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
"site": "news",
"source": "kqed",
"order": 15
},
"link": "/podcasts/hyphenacion",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/hyphenaci%C3%B3n/id1191591838",
"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
"youtube": "https://www.youtube.com/c/kqedarts",
"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
"site": "news",
"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
"subscribe": {
"npr": "https://www.npr.org/podcasts/790253322/the-political-mind-of-jerry-brown",
"apple": "https://itunes.apple.com/us/podcast/id1492194549",
"rss": "https://ww2.kqed.org/news/series/jerrybrown/feed/podcast/",
"tuneIn": "http://tun.in/pjGcK",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-political-mind-of-jerry-brown",
"spotify": "https://open.spotify.com/show/54C1dmuyFyKMFttY6X2j6r?si=K8SgRCoISNK6ZbjpXrX5-w",
"amazon": "https://music.amazon.com/podcasts/44420f75-3b0e-4301-ab3b-16da6b09e543/the-political-mind-of-jerry-brown"
}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/xtTd",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Latino-USA-p621/",
"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201853034&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/APM-Marketplace-p88/",
"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
"site": "news",
"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
"spotify": "https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"
}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"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?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
"npr": "https://rpb3r.app.goo.gl/onourwatch",
"spotify": "https://open.spotify.com/show/0OLWoyizopu6tY1XiuX70x",
"tuneIn": "https://tunein.com/radio/On-Our-Watch-p1436229/",
"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"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",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
"site": "news",
"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
"site": "radio",
"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/id73801135",
"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
}
},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"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.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
"site": "radio",
"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/political-breakdown/id1327641087",
"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
"npr": "https://www.npr.org/podcasts/572155894/political-breakdown",
"stitcher": "https://www.stitcher.com/podcast/kqed/political-breakdown",
"spotify": "https://open.spotify.com/show/07RVyIjIdk2WDuVehvBMoN",
"rss": "https://ww2.kqed.org/news/tag/political-breakdown/feed/podcast"
}
},
"possible": {
"id": "possible",
"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.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
"meta": {
"site": "news",
"source": "Possible"
},
"link": "/radio/program/possible",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/possible/id1677184070",
"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
}
},
"pri-the-world": {
"id": "pri-the-world",
"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.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pri.org/programs/the-world",
"meta": {
"site": "news",
"source": "PRI"
},
"link": "/radio/program/pri-the-world",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pris-the-world-latest-edition/id278196007?mt=2",
"tuneIn": "https://tunein.com/podcasts/News--Politics-Podcasts/PRIs-The-World-p24/",
"rss": "http://feeds.feedburner.com/pri/theworld"
}
},
"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.",
"airtime": "SUN 12am-1am, SAT 2pm-3pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/radiolab1400.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/radiolab/",
"meta": {
"site": "science",
"source": "WNYC"
},
"link": "/radio/program/radiolab",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/radiolab/id152249110?mt=2",
"tuneIn": "https://tunein.com/radio/RadioLab-p68032/",
"rss": "https://feeds.wnyc.org/radiolab"
}
},
"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",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/reveal300px.png",
"officialWebsiteLink": "https://www.revealnews.org/episodes/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/reveal",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/reveal/id886009669",
"tuneIn": "https://tunein.com/radio/Reveal-p679597/",
"rss": "http://feeds.revealradio.org/revealpodcast"
}
},
"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.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Rightnowish-Podcast-Tile-500x500-1.jpg",
"imageAlt": "KQED Rightnowish with Pendarvis Harshaw",
"officialWebsiteLink": "/podcasts/rightnowish",
"meta": {
"site": "arts",
"source": "kqed",
"order": 16
},
"link": "/podcasts/rightnowish",
"subscribe": {
"npr": "https://www.npr.org/podcasts/721590300/rightnowish",
"rss": "https://ww2.kqed.org/arts/programs/rightnowish/feed/podcast",
"apple": "https://podcasts.apple.com/us/podcast/rightnowish/id1482187648",
"stitcher": "https://www.stitcher.com/podcast/kqed/rightnowish",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMxMjU5MTY3NDc4",
"spotify": "https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I"
}
},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
"airtime": "FRI 11am-1pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Science-Friday-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/science-friday",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/science-friday",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=73329284&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Science-Friday-p394/",
"rss": "http://feeds.wnyc.org/science-friday"
}
},
"snap-judgment": {
"id": "snap-judgment",
"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
"airtime": "SAT 1pm-2pm, 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/05/Snap-Judgment-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Snap Judgment",
"officialWebsiteLink": "https://snapjudgment.org",
"meta": {
"site": "arts",
"source": "kqed",
"order": 4
},
"link": "https://snapjudgment.org",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/snap-judgment/id283657561",
"npr": "https://www.npr.org/podcasts/449018144/snap-judgment",
"stitcher": "https://www.pandora.com/podcast/snap-judgment/PC:241?source=stitcher-sunset",
"spotify": "https://open.spotify.com/show/3Cct7ZWmxHNAtLgBTqjC5v",
"rss": "https://snap.feed.snapjudgment.org/"
}
},
"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Sold-Out-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Sold Out: Rethinking Housing in America",
"officialWebsiteLink": "/podcasts/soldout",
"meta": {
"site": "news",
"source": "kqed",
"order": 13
},
"link": "/podcasts/soldout",
"subscribe": {
"npr": "https://www.npr.org/podcasts/911586047/s-o-l-d-o-u-t-a-new-future-for-housing",
"apple": "https://podcasts.apple.com/us/podcast/introducing-sold-out-rethinking-housing-in-america/id1531354937",
"rss": "https://feeds.megaphone.fm/soldout",
"spotify": "https://open.spotify.com/show/38dTBSk2ISFoPiyYNoKn1X",
"stitcher": "https://www.stitcher.com/podcast/kqed/sold-out-rethinking-housing-in-america",
"tunein": "https://tunein.com/radio/SOLD-OUT-Rethinking-Housing-in-America-p1365871/"
}
},
"spooked": {
"id": "spooked",
"title": "Spooked",
"tagline": "True-life supernatural stories",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/10/Spooked-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Spooked",
"officialWebsiteLink": "https://spookedpodcast.org/",
"meta": {
"site": "news",
"source": "kqed",
"order": 7
},
"link": "https://spookedpodcast.org/",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/spooked/id1279361017",
"npr": "https://www.npr.org/podcasts/549547848/snap-judgment-presents-spooked",
"spotify": "https://open.spotify.com/show/76571Rfl3m7PLJQZKQIGCT",
"rss": "https://feeds.simplecast.com/TBotaapn"
}
},
"tech-nation": {
"id": "tech-nation",
"title": "Tech Nation Radio Podcast",
"info": "Tech Nation is a weekly public radio program, hosted by Dr. Moira Gunn. Founded in 1993, it has grown from a simple interview show to a multi-faceted production, featuring conversations with noted technology and science leaders, and a weekly science and technology-related commentary.",
"airtime": "FRI 10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Tech-Nation-Radio-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://technation.podomatic.com/",
"meta": {
"site": "science",
"source": "Tech Nation Media"
},
"link": "/radio/program/tech-nation",
"subscribe": {
"rss": "https://technation.podomatic.com/rss2.xml"
}
},
"ted-radio-hour": {
"id": "ted-radio-hour",
"title": "TED Radio Hour",
"info": "The TED Radio Hour is a journey through fascinating ideas, astonishing inventions, fresh approaches to old problems, and new ways to think and create.",
"airtime": "SUN 3pm-4pm, SAT 10pm-11pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/tedRadioHour.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/ted-radio-hour/?showDate=2018-06-22",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/ted-radio-hour",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/8vsS",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=523121474&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/TED-Radio-Hour-p418021/",
"rss": "https://feeds.npr.org/510298/podcast.xml"
}
},
"thebay": {
"id": "thebay",
"title": "The Bay",
"tagline": "Local news to keep you rooted",
"info": "Host Devin Katayama walks you through the biggest story of the day with reporters and newsmakers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Bay-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Bay",
"officialWebsiteLink": "/podcasts/thebay",
"meta": {
"site": "radio",
"source": "kqed",
"order": 2
},
"link": "/podcasts/thebay",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-bay/id1350043452",
"amazon": "https://music.amazon.com/podcasts/d800ea4c-7a2c-42f2-b861-edaf78a5db0b/the-bay",
"npr": "https://www.npr.org/podcasts/586725995/the-bay",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-bay",
"spotify": "https://open.spotify.com/show/4BIKBKIujizLHlIlBNaAqQ",
"rss": "https://feeds.megaphone.fm/KQINC8259786327"
}
},
"thelatest": {
"id": "thelatest",
"title": "The Latest",
"tagline": "Trusted local news in real time",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/05/The-Latest-2025-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Latest",
"officialWebsiteLink": "/thelatest",
"meta": {
"site": "news",
"source": "kqed",
"order": 6
},
"link": "/thelatest",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-latest-from-kqed/id1197721799",
"npr": "https://www.npr.org/podcasts/1257949365/the-latest-from-k-q-e-d",
"spotify": "https://open.spotify.com/show/5KIIXMgM9GTi5AepwOYvIZ?si=bd3053fec7244dba",
"rss": "https://feeds.megaphone.fm/KQINC9137121918"
}
},
"theleap": {
"id": "theleap",
"title": "The Leap",
"tagline": "What if you closed your eyes, and jumped?",
"info": "Stories about people making dramatic, risky changes, told by award-winning public radio reporter Judy Campbell.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Leap-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Leap",
"officialWebsiteLink": "/podcasts/theleap",
"meta": {
"site": "news",
"source": "kqed",
"order": 17
},
"link": "/podcasts/theleap",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-leap/id1046668171",
"npr": "https://www.npr.org/podcasts/447248267/the-leap",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-leap",
"spotify": "https://open.spotify.com/show/3sSlVHHzU0ytLwuGs1SD1U",
"rss": "https://ww2.kqed.org/news/programs/the-leap/feed/podcast"
}
},
"the-moth-radio-hour": {
"id": "the-moth-radio-hour",
"title": "The Moth Radio Hour",
"info": "Since its launch in 1997, The Moth has presented thousands of true stories, told live and without notes, to standing-room-only crowds worldwide. Moth storytellers stand alone, under a spotlight, with only a microphone and a roomful of strangers. The storyteller and the audience embark on a high-wire act of shared experience which is both terrifying and exhilarating. Since 2008, The Moth podcast has featured many of our favorite stories told live on Moth stages around the country. For information on all of our programs and live events, visit themoth.org.",
"airtime": "SAT 8pm-9pm and SUN 11am-12pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/theMoth.jpg",
"officialWebsiteLink": "https://themoth.org/",
"meta": {
"site": "arts",
"source": "prx"
},
"link": "/radio/program/the-moth-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/the-moth-podcast/id275699983?mt=2",
"tuneIn": "https://tunein.com/radio/The-Moth-p273888/",
"rss": "http://feeds.themoth.org/themothpodcast"
}
},
"the-new-yorker-radio-hour": {
"id": "the-new-yorker-radio-hour",
"title": "The New Yorker Radio Hour",
"info": "The New Yorker Radio Hour is a weekly program presented by the magazine's editor, David Remnick, and produced by WNYC Studios and The New Yorker. Each episode features a diverse mix of interviews, profiles, storytelling, and an occasional burst of humor inspired by the magazine, and shaped by its writers, artists, and editors. This isn't a radio version of a magazine, but something all its own, reflecting the rich possibilities of audio storytelling and conversation. Theme music for the show was composed and performed by Merrill Garbus of tUnE-YArDs.",
"airtime": "SAT 10am-11am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-New-Yorker-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/tnyradiohour",
"meta": {
"site": "arts",
"source": "WNYC"
},
"link": "/radio/program/the-new-yorker-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/id1050430296",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/New-Yorker-Radio-Hour-p803804/",
"rss": "https://feeds.feedburner.com/newyorkerradiohour"
}
},
"the-sam-sanders-show": {
"id": "the-sam-sanders-show",
"title": "The Sam Sanders Show",
"info": "One of public radio's most dynamic voices, Sam Sanders helped launch The NPR Politics Podcast and hosted NPR's hit show It's Been A Minute. Now, the award-winning host returns with something brand new, The Sam Sanders Show. Every week, Sam Sanders and friends dig into the culture that shapes our lives: what's driving the biggest trends, how artists really think, and even the memes you can't stop scrolling past. Sam is beloved for his way of unpacking the world and bringing you up close to fresh currents and engaging conversations. The Sam Sanders Show is smart, funny and always a good time.",
"airtime": "FRI 12-1pm AND SAT 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/11/The-Sam-Sanders-Show-Podcast-Tile-400x400-1.jpg",
"officialWebsiteLink": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"meta": {
"site": "arts",
"source": "KCRW"
},
"link": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"subscribe": {
"rss": "https://feed.cdnstream1.com/zjb/feed/download/ac/28/59/ac28594c-e1d0-4231-8728-61865cdc80e8.xml"
}
},
"the-splendid-table": {
"id": "the-splendid-table",
"title": "The Splendid Table",
"info": "\u003cem>The Splendid Table\u003c/em> hosts our nation's conversations about cooking, sustainability and food culture.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Splendid-Table-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.splendidtable.org/",
"airtime": "SUN 10-11 pm",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/the-splendid-table"
},
"this-american-life": {
"id": "this-american-life",
"title": "This American Life",
"info": "This American Life is a weekly public radio show, heard by 2.2 million people on more than 500 stations. Another 2.5 million people download the weekly podcast. It is hosted by Ira Glass, produced in collaboration with Chicago Public Media, delivered to stations by PRX The Public Radio Exchange, and has won all of the major broadcasting awards.",
"airtime": "SAT 12pm-1pm, 7pm-8pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/thisAmericanLife.png",
"officialWebsiteLink": "https://www.thisamericanlife.org/",
"meta": {
"site": "news",
"source": "wbez"
},
"link": "/radio/program/this-american-life",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201671138&at=11l79Y&ct=nprdirectory",
"rss": "https://www.thisamericanlife.org/podcast/rss.xml"
}
},
"tinydeskradio": {
"id": "tinydeskradio",
"title": "Tiny Desk Radio",
"info": "We're bringing the best of Tiny Desk to the airwaves, only on public radio.",
"airtime": "SUN 8pm and SAT 9pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/04/300x300-For-Member-Station-Logo-Tiny-Desk-Radio-@2x.png",
"officialWebsiteLink": "https://www.npr.org/series/g-s1-52030/tiny-desk-radio",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/tinydeskradio",
"subscribe": {
"rss": "https://feeds.npr.org/g-s1-52030/rss.xml"
}
},
"wait-wait-dont-tell-me": {
"id": "wait-wait-dont-tell-me",
"title": "Wait Wait... Don't Tell Me!",
"info": "Peter Sagal and Bill Kurtis host the weekly NPR News quiz show alongside some of the best and brightest news and entertainment personalities.",
"airtime": "SUN 10am-11am, SAT 11am-12pm, SAT 6pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Wait-Wait-Podcast-Tile-300x300-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/wait-wait-dont-tell-me/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/wait-wait-dont-tell-me",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/Xogv",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=121493804&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Wait-Wait-Dont-Tell-Me-p46/",
"rss": "https://feeds.npr.org/344098539/podcast.xml"
}
},
"weekend-edition-saturday": {
"id": "weekend-edition-saturday",
"title": "Weekend Edition Saturday",
"info": "Weekend Edition Saturday wraps up the week's news and offers a mix of analysis and features on a wide range of topics, including arts, sports, entertainment, and human interest stories. The two-hour program is hosted by NPR's Peabody Award-winning Scott Simon.",
"airtime": "SAT 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-saturday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-saturday"
},
"weekend-edition-sunday": {
"id": "weekend-edition-sunday",
"title": "Weekend Edition Sunday",
"info": "Weekend Edition Sunday features interviews with newsmakers, artists, scientists, politicians, musicians, writers, theologians and historians. The program has covered news events from Nelson Mandela's 1990 release from a South African prison to the capture of Saddam Hussein.",
"airtime": "SUN 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-sunday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-sunday"
}
},
"racesReducer": {},
"racesGenElectionReducer": {},
"racesGenElection2026Reducer": {},
"radioSchedulesReducer": {},
"listsReducer": {
"posts/arts?tag=berkeley": {
"isFetching": false,
"latestQuery": {
"from": 108,
"size": 12
},
"vitalsOnly": false,
"totalRequested": 12,
"isLoading": false,
"isLoadingMore": true,
"total": {
"value": 172,
"relation": "eq"
},
"items": [
"arts_13923978",
"arts_13924375",
"arts_13923005",
"arts_13921567",
"arts_13921333",
"arts_13921216",
"arts_13920367",
"arts_13920198",
"arts_13920004",
"arts_13919818",
"arts_13918872",
"arts_13918498"
],
"complete": true
}
},
"recallGuideReducer": {
"intros": {},
"policy": {},
"candidates": {}
},
"savedArticleReducer": {
"articles": [],
"status": {}
},
"newslettersReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"newsletters": {},
"isSubscribing": false,
"isUnsubscribing": false,
"subscribedNewsletters": {}
},
"termsReducer": {
"about": {
"name": "About",
"type": "terms",
"id": "about",
"slug": "about",
"link": "/about",
"taxonomy": "site"
},
"arts": {
"name": "Arts & Culture",
"grouping": [
"arts",
"pop",
"trulyca"
],
"description": "KQED Arts provides daily in-depth coverage of the Bay Area's music, art, film, performing arts, literature and arts news, as well as cultural commentary and criticism.",
"type": "terms",
"id": "arts",
"slug": "arts",
"link": "/arts",
"taxonomy": "site"
},
"artschool": {
"name": "Art School",
"parent": "arts",
"type": "terms",
"id": "artschool",
"slug": "artschool",
"link": "/artschool",
"taxonomy": "site"
},
"bayareabites": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"parent": "food",
"type": "terms",
"id": "bayareabites",
"slug": "bayareabites",
"link": "/food",
"taxonomy": "site"
},
"bayareahiphop": {
"name": "Bay Area Hiphop",
"type": "terms",
"id": "bayareahiphop",
"slug": "bayareahiphop",
"link": "/bayareahiphop",
"taxonomy": "site"
},
"campaign21": {
"name": "Campaign 21",
"type": "terms",
"id": "campaign21",
"slug": "campaign21",
"link": "/campaign21",
"taxonomy": "site"
},
"careers": {
"name": "Careers",
"type": "terms",
"id": "careers",
"slug": "careers",
"link": "/careers",
"taxonomy": "site"
},
"checkplease": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"parent": "food",
"type": "terms",
"id": "checkplease",
"slug": "checkplease",
"link": "/food",
"taxonomy": "site"
},
"education": {
"name": "Education",
"grouping": [
"education"
],
"type": "terms",
"id": "education",
"slug": "education",
"link": "/education",
"taxonomy": "site"
},
"elections": {
"name": "Elections",
"type": "terms",
"id": "elections",
"slug": "elections",
"link": "/elections",
"taxonomy": "site"
},
"events": {
"name": "Events",
"type": "terms",
"id": "events",
"slug": "events",
"link": "/events",
"taxonomy": "site"
},
"event": {
"name": "Event",
"alias": "events",
"type": "terms",
"id": "event",
"slug": "event",
"link": "/event",
"taxonomy": "site"
},
"filmschoolshorts": {
"name": "Film School Shorts",
"type": "terms",
"id": "filmschoolshorts",
"slug": "filmschoolshorts",
"link": "/filmschoolshorts",
"taxonomy": "site"
},
"food": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"type": "terms",
"id": "food",
"slug": "food",
"link": "/food",
"taxonomy": "site"
},
"forum": {
"name": "Forum",
"relatedContentQuery": "posts/forum?",
"parent": "news",
"type": "terms",
"id": "forum",
"slug": "forum",
"link": "/forum",
"taxonomy": "site"
},
"futureofyou": {
"name": "Future of You",
"grouping": [
"science",
"futureofyou"
],
"parent": "science",
"type": "terms",
"id": "futureofyou",
"slug": "futureofyou",
"link": "/futureofyou",
"taxonomy": "site"
},
"jpepinheart": {
"name": "KQED food",
"relatedContentQuery": "posts/food,bayareabites,checkplease",
"parent": "food",
"type": "terms",
"id": "jpepinheart",
"slug": "jpepinheart",
"link": "/food",
"taxonomy": "site"
},
"liveblog": {
"name": "Live Blog",
"type": "terms",
"id": "liveblog",
"slug": "liveblog",
"link": "/liveblog",
"taxonomy": "site"
},
"livetv": {
"name": "Live TV",
"parent": "tv",
"type": "terms",
"id": "livetv",
"slug": "livetv",
"link": "/livetv",
"taxonomy": "site"
},
"lowdown": {
"name": "The Lowdown",
"relatedContentQuery": "posts/lowdown?",
"parent": "news",
"type": "terms",
"id": "lowdown",
"slug": "lowdown",
"link": "/lowdown",
"taxonomy": "site"
},
"mindshift": {
"name": "Mindshift",
"parent": "news",
"description": "MindShift explores the future of education by highlighting the innovative – and sometimes counterintuitive – ways educators and parents are helping all children succeed.",
"type": "terms",
"id": "mindshift",
"slug": "mindshift",
"link": "/mindshift",
"taxonomy": "site"
},
"news": {
"name": "News",
"grouping": [
"news",
"forum"
],
"type": "terms",
"id": "news",
"slug": "news",
"link": "/news",
"taxonomy": "site"
},
"newsletters": {
"name": "newsletters",
"type": "terms",
"id": "newsletters",
"slug": "newsletters",
"link": "/newsletters",
"taxonomy": "site"
},
"perspectives": {
"name": "Perspectives",
"parent": "radio",
"type": "terms",
"id": "perspectives",
"slug": "perspectives",
"link": "/perspectives",
"taxonomy": "site"
},
"podcasts": {
"name": "Podcasts",
"type": "terms",
"id": "podcasts",
"slug": "podcasts",
"link": "/podcasts",
"taxonomy": "site"
},
"pop": {
"name": "Pop",
"parent": "arts",
"type": "terms",
"id": "pop",
"slug": "pop",
"link": "/pop",
"taxonomy": "site"
},
"pressroom": {
"name": "Pressroom",
"type": "terms",
"id": "pressroom",
"slug": "pressroom",
"link": "/pressroom",
"taxonomy": "site"
},
"quest": {
"name": "Quest",
"parent": "science",
"type": "terms",
"id": "quest",
"slug": "quest",
"link": "/quest",
"taxonomy": "site"
},
"radio": {
"name": "Radio",
"grouping": [
"forum",
"perspectives"
],
"description": "Listen to KQED Public Radio – home of Forum and The California Report – on 88.5 FM in San Francisco, 89.3 FM in Sacramento, 88.3 FM in Santa Rosa and 88.1 FM in Martinez.",
"type": "terms",
"id": "radio",
"slug": "radio",
"link": "/radio",
"taxonomy": "site"
},
"root": {
"name": "KQED",
"image": "https://ww2.kqed.org/app/uploads/2020/02/KQED-OG-Image@1x.png",
"imageWidth": 1200,
"imageHeight": 630,
"headData": {
"title": "KQED | News, Radio, Podcasts, TV | Public Media for Northern California",
"description": "KQED provides public radio, television, and independent reporting on issues that matter to the Bay Area. We’re the NPR and PBS member station for Northern California."
},
"type": "terms",
"id": "root",
"slug": "root",
"link": "/root",
"taxonomy": "site"
},
"science": {
"name": "Science",
"grouping": [
"science",
"futureofyou"
],
"description": "KQED Science brings you award-winning science and environment coverage from the Bay Area and beyond.",
"type": "terms",
"id": "science",
"slug": "science",
"link": "/science",
"taxonomy": "site"
},
"stateofhealth": {
"name": "State of Health",
"parent": "science",
"type": "terms",
"id": "stateofhealth",
"slug": "stateofhealth",
"link": "/stateofhealth",
"taxonomy": "site"
},
"support": {
"name": "Support",
"type": "terms",
"id": "support",
"slug": "support",
"link": "/support",
"taxonomy": "site"
},
"thedolist": {
"name": "The Do List",
"parent": "arts",
"type": "terms",
"id": "thedolist",
"slug": "thedolist",
"link": "/thedolist",
"taxonomy": "site"
},
"trulyca": {
"name": "Truly CA",
"grouping": [
"arts",
"pop",
"trulyca"
],
"parent": "arts",
"type": "terms",
"id": "trulyca",
"slug": "trulyca",
"link": "/trulyca",
"taxonomy": "site"
},
"tv": {
"name": "TV",
"type": "terms",
"id": "tv",
"slug": "tv",
"link": "/tv",
"taxonomy": "site"
},
"voterguide": {
"name": "Voter Guide",
"parent": "elections",
"alias": "elections",
"type": "terms",
"id": "voterguide",
"slug": "voterguide",
"link": "/voterguide",
"taxonomy": "site"
},
"guiaelectoral": {
"name": "Guia Electoral",
"parent": "elections",
"alias": "elections",
"type": "terms",
"id": "guiaelectoral",
"slug": "guiaelectoral",
"link": "/guiaelectoral",
"taxonomy": "site"
},
"arts_tag_berkeley": {
"isLoading": true
},
"arts_1270": {
"type": "terms",
"id": "arts_1270",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1270",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Berkeley",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Berkeley Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1282,
"slug": "berkeley",
"isLoading": false,
"link": "/arts/tag/berkeley"
},
"source_arts_13923978": {
"type": "terms",
"id": "source_arts_13923978",
"meta": {
"override": true
},
"name": "That's My Word",
"link": "http://kqed.org/bayareahiphop",
"isLoading": false
},
"source_arts_13923005": {
"type": "terms",
"id": "source_arts_13923005",
"meta": {
"override": true
},
"name": "Food",
"link": "https://www.kqed.org/food/",
"isLoading": false
},
"source_arts_13921333": {
"type": "terms",
"id": "source_arts_13921333",
"meta": {
"override": true
},
"name": "Food",
"link": "https://www.kqed.org/food",
"isLoading": false
},
"source_arts_13921216": {
"type": "terms",
"id": "source_arts_13921216",
"meta": {
"override": true
},
"name": "Food",
"link": "/food/",
"isLoading": false
},
"source_arts_13918498": {
"type": "terms",
"id": "source_arts_13918498",
"meta": {
"override": true
},
"name": "Food",
"link": "https://www.kqed.org/food",
"isLoading": false
},
"arts_8720": {
"type": "terms",
"id": "arts_8720",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "8720",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Rightnowish",
"description": null,
"taxonomy": "program",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Rightnowish Archives | KQED Arts",
"ogDescription": null
},
"ttid": 8732,
"slug": "rightnowish",
"isLoading": false,
"link": "/arts/program/rightnowish"
},
"arts_22314": {
"type": "terms",
"id": "arts_22314",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "22314",
"found": true
},
"relationships": {},
"name": "That’s My Word",
"slug": "thats-my-word",
"taxonomy": "series",
"description": null,
"featImg": null,
"headData": {
"title": "That’s My Word | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 22326,
"isLoading": false,
"link": "/arts/series/thats-my-word"
},
"arts_1": {
"type": "terms",
"id": "arts_1",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Arts",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Arts Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1,
"slug": "arts",
"isLoading": false,
"link": "/arts/category/arts"
},
"arts_966": {
"type": "terms",
"id": "arts_966",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "966",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Dance",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Dance Archives | KQED Arts",
"ogDescription": null
},
"ttid": 984,
"slug": "dance",
"isLoading": false,
"link": "/arts/category/dance"
},
"arts_69": {
"type": "terms",
"id": "arts_69",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "69",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Music",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Music Archives | KQED Arts",
"ogDescription": null
},
"ttid": 70,
"slug": "music",
"isLoading": false,
"link": "/arts/category/music"
},
"arts_70": {
"type": "terms",
"id": "arts_70",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "70",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Visual Arts",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Visual Arts Archives | KQED Arts",
"ogDescription": null
},
"ttid": 71,
"slug": "visualarts",
"isLoading": false,
"link": "/arts/category/visualarts"
},
"arts_8505": {
"type": "terms",
"id": "arts_8505",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "8505",
"found": true
},
"relationships": {},
"featImg": null,
"name": "bay area hip-hop",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "bay area hip-hop Archives | KQED Arts",
"ogDescription": null
},
"ttid": 8517,
"slug": "bay-area-hip-hop",
"isLoading": false,
"link": "/arts/tag/bay-area-hip-hop"
},
"arts_7711": {
"type": "terms",
"id": "arts_7711",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "7711",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Davey D",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Davey D Archives | KQED Arts",
"ogDescription": null
},
"ttid": 7723,
"slug": "davey-d",
"isLoading": false,
"link": "/arts/tag/davey-d"
},
"arts_831": {
"type": "terms",
"id": "arts_831",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "831",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Hip Hop",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"socialTitle": "Fresh Off the Streets: Get Amped by the Bay's Hottest Hip-Hop Stories",
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": "Discover rising stars, hidden gems, and live events that'll keep your head nodding. Find your next favorite local hip hop artist right here.",
"metaRobotsNoIndex": "index",
"title": "Fresh Off the Streets: Get Amped by the Bay's Hottest Hip-Hop Stories",
"ogDescription": null
},
"ttid": 849,
"slug": "hip-hop",
"isLoading": false,
"link": "/arts/tag/hip-hop"
},
"arts_19347": {
"type": "terms",
"id": "arts_19347",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "19347",
"found": true
},
"relationships": {},
"featImg": null,
"name": "tmw-latest",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "tmw-latest Archives | KQED Arts",
"ogDescription": null
},
"ttid": 19359,
"slug": "tmw-latest",
"isLoading": false,
"link": "/arts/tag/tmw-latest"
},
"arts_140": {
"type": "terms",
"id": "arts_140",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "140",
"found": true
},
"relationships": {},
"name": "The Do List",
"slug": "the-do-list",
"taxonomy": "program",
"description": null,
"featImg": "https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/The-Do-LIst-logo-2014-horizontal-015.png",
"headData": {
"title": "The Do List Archives | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 141,
"isLoading": false,
"link": "/arts/program/the-do-list"
},
"arts_4516": {
"type": "terms",
"id": "arts_4516",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "4516",
"found": true
},
"relationships": {},
"featImg": null,
"name": "bay area artists",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "bay area artists Archives | KQED Arts",
"ogDescription": null
},
"ttid": 4528,
"slug": "bay-area-artists",
"isLoading": false,
"link": "/arts/tag/bay-area-artists"
},
"arts_8355": {
"type": "terms",
"id": "arts_8355",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "8355",
"found": true
},
"relationships": {},
"featImg": null,
"name": "bay area jazz",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "bay area jazz Archives | KQED Arts",
"ogDescription": null
},
"ttid": 8367,
"slug": "bay-area-jazz",
"isLoading": false,
"link": "/arts/tag/bay-area-jazz"
},
"arts_1626": {
"type": "terms",
"id": "arts_1626",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1626",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Grace Cathedral",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Grace Cathedral Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1638,
"slug": "grace-cathedral",
"isLoading": false,
"link": "/arts/tag/grace-cathedral"
},
"arts_1420": {
"type": "terms",
"id": "arts_1420",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1420",
"found": true
},
"relationships": {},
"featImg": null,
"name": "jazz",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "jazz Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1432,
"slug": "jazz",
"isLoading": false,
"link": "/arts/tag/jazz"
},
"arts_1720": {
"type": "terms",
"id": "arts_1720",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1720",
"found": true
},
"relationships": {},
"featImg": null,
"name": "local music",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "local music Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1732,
"slug": "local-music",
"isLoading": false,
"link": "/arts/tag/local-music"
},
"arts_1143": {
"type": "terms",
"id": "arts_1143",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1143",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Oakland",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Oakland Archives | KQED Arts",
"ogDescription": null
},
"ttid": 692,
"slug": "oakland",
"isLoading": false,
"link": "/arts/tag/oakland"
},
"arts_2048": {
"type": "terms",
"id": "arts_2048",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2048",
"found": true
},
"relationships": {},
"featImg": null,
"name": "SFJAZZ",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "SFJAZZ Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2060,
"slug": "sfjazz",
"isLoading": false,
"link": "/arts/tag/sfjazz"
},
"arts_585": {
"type": "terms",
"id": "arts_585",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "585",
"found": true
},
"relationships": {},
"featImg": null,
"name": "thedolist",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "thedolist Archives | KQED Arts",
"ogDescription": null
},
"ttid": 590,
"slug": "thedolist",
"isLoading": false,
"link": "/arts/tag/thedolist"
},
"arts_12276": {
"type": "terms",
"id": "arts_12276",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "12276",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Food",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": "Explore the Bay Area culinary scene through KQED's food stories, recipes, dining experiences, and stories from the diverse tastemakers that define the Bay's cuisines.",
"title": "Bay Area Food Archives, Articles, News, and Reviews | KQED",
"ogDescription": null
},
"ttid": 12288,
"slug": "food",
"isLoading": false,
"link": "/arts/category/food"
},
"arts_4672": {
"type": "terms",
"id": "arts_4672",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "4672",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Asian American",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Asian American Archives | KQED Arts",
"ogDescription": null
},
"ttid": 4684,
"slug": "asian-american",
"isLoading": false,
"link": "/arts/tag/asian-american"
},
"arts_6357": {
"type": "terms",
"id": "arts_6357",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "6357",
"found": true
},
"relationships": {},
"featImg": null,
"name": "emeryville",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "emeryville Archives | KQED Arts",
"ogDescription": null
},
"ttid": 6369,
"slug": "emeryville",
"isLoading": false,
"link": "/arts/tag/emeryville"
},
"arts_10278": {
"type": "terms",
"id": "arts_10278",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "10278",
"found": true
},
"relationships": {},
"featImg": null,
"name": "featured-arts",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "featured-arts Archives | KQED Arts",
"ogDescription": null
},
"ttid": 10290,
"slug": "featured-arts",
"isLoading": false,
"link": "/arts/tag/featured-arts"
},
"arts_1297": {
"type": "terms",
"id": "arts_1297",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1297",
"found": true
},
"relationships": {},
"featImg": null,
"name": "food",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "food Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1309,
"slug": "food",
"isLoading": false,
"link": "/arts/tag/food"
},
"arts_21732": {
"type": "terms",
"id": "arts_21732",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21732",
"found": true
},
"relationships": {},
"featImg": null,
"name": "japanese food",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "japanese food Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21744,
"slug": "japanese-food",
"isLoading": false,
"link": "/arts/tag/japanese-food"
},
"arts_967": {
"type": "terms",
"id": "arts_967",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "967",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Theater",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Theater Archives | KQED Arts",
"ogDescription": null
},
"ttid": 985,
"slug": "theater",
"isLoading": false,
"link": "/arts/category/theater"
},
"arts_2360": {
"type": "terms",
"id": "arts_2360",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2360",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Shotgun Players",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"socialTitle": "Experience Raw & Daring Theatre: Shotgun Players, Berkeley's Gem",
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": "Dive into the electrifying world of Shotgun Players, Berkeley's acclaimed theatre company. Discover immersive productions & intimate experiences.",
"metaRobotsNoIndex": "index",
"title": "Experience Raw & Daring Theatre: Shotgun Players, Berkeley's Gem",
"ogDescription": null
},
"ttid": 2372,
"slug": "shotgun-players",
"isLoading": false,
"link": "/arts/tag/shotgun-players"
},
"arts_1072": {
"type": "terms",
"id": "arts_1072",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1072",
"found": true
},
"relationships": {},
"featImg": null,
"name": "theater",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "theater Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1089,
"slug": "theater",
"isLoading": false,
"link": "/arts/tag/theater"
},
"arts_19019": {
"type": "terms",
"id": "arts_19019",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "19019",
"found": true
},
"relationships": {},
"featImg": null,
"name": "pho",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "pho Archives | KQED Arts",
"ogDescription": null
},
"ttid": 19031,
"slug": "pho",
"isLoading": false,
"link": "/arts/tag/pho"
},
"arts_3652": {
"type": "terms",
"id": "arts_3652",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3652",
"found": true
},
"relationships": {},
"featImg": null,
"name": "racism",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "racism Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3664,
"slug": "racism",
"isLoading": false,
"link": "/arts/tag/racism"
},
"arts_2473": {
"type": "terms",
"id": "arts_2473",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2473",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Vietnam",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Vietnam Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2485,
"slug": "vietnam",
"isLoading": false,
"link": "/arts/tag/vietnam"
},
"arts_15126": {
"type": "terms",
"id": "arts_15126",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "15126",
"found": true
},
"relationships": {},
"featImg": null,
"name": "vietnamese food",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "vietnamese food Archives | KQED Arts",
"ogDescription": null
},
"ttid": 15138,
"slug": "vietnamese-food",
"isLoading": false,
"link": "/arts/tag/vietnamese-food"
},
"arts_13238": {
"type": "terms",
"id": "arts_13238",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "13238",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Sports",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Sports Archives | KQED Arts",
"ogDescription": null
},
"ttid": 13250,
"slug": "sports",
"isLoading": false,
"link": "/arts/category/sports"
},
"arts_10092": {
"type": "terms",
"id": "arts_10092",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "10092",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Baseball",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Baseball Archives | KQED Arts",
"ogDescription": null
},
"ttid": 10104,
"slug": "baseball",
"isLoading": false,
"link": "/arts/tag/baseball"
},
"arts_1551": {
"type": "terms",
"id": "arts_1551",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1551",
"found": true
},
"relationships": {},
"featImg": null,
"name": "oakland a's",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "oakland a's Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1563,
"slug": "oakland-as",
"isLoading": false,
"link": "/arts/tag/oakland-as"
},
"arts_5489": {
"type": "terms",
"id": "arts_5489",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "5489",
"found": true
},
"relationships": {},
"featImg": null,
"name": "oakland coliseum",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "oakland coliseum Archives | KQED Arts",
"ogDescription": null
},
"ttid": 5501,
"slug": "oakland-coliseum",
"isLoading": false,
"link": "/arts/tag/oakland-coliseum"
},
"arts_4506": {
"type": "terms",
"id": "arts_4506",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "4506",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Sports",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Sports Archives | KQED Arts",
"ogDescription": null
},
"ttid": 4518,
"slug": "sports",
"isLoading": false,
"link": "/arts/tag/sports"
},
"arts_3419": {
"type": "terms",
"id": "arts_3419",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3419",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Chicano",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Chicano Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3431,
"slug": "chicano",
"isLoading": false,
"link": "/arts/tag/chicano"
},
"arts_8273": {
"type": "terms",
"id": "arts_8273",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "8273",
"found": true
},
"relationships": {},
"featImg": null,
"name": "football",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "football Archives | KQED Arts",
"ogDescription": null
},
"ttid": 8285,
"slug": "football",
"isLoading": false,
"link": "/arts/tag/football"
},
"arts_1256": {
"type": "terms",
"id": "arts_1256",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1256",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Latino",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Latino Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1268,
"slug": "latino",
"isLoading": false,
"link": "/arts/tag/latino"
},
"arts_2565": {
"type": "terms",
"id": "arts_2565",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2565",
"found": true
},
"relationships": {},
"featImg": null,
"name": "nfl",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "nfl Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2577,
"slug": "nfl",
"isLoading": false,
"link": "/arts/tag/nfl"
},
"arts_4751": {
"type": "terms",
"id": "arts_4751",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "4751",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Salinas",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Salinas Archives | KQED Arts",
"ogDescription": null
},
"ttid": 4763,
"slug": "salinas",
"isLoading": false,
"link": "/arts/tag/salinas"
},
"arts_235": {
"type": "terms",
"id": "arts_235",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "235",
"found": true
},
"relationships": {},
"featImg": null,
"name": "News",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "News Archives | KQED Arts",
"ogDescription": null
},
"ttid": 236,
"slug": "news",
"isLoading": false,
"link": "/arts/category/news"
},
"arts_10342": {
"type": "terms",
"id": "arts_10342",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "10342",
"found": true
},
"relationships": {},
"featImg": null,
"name": "editorspick",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "editorspick Archives | KQED Arts",
"ogDescription": null
},
"ttid": 10354,
"slug": "editorspick",
"isLoading": false,
"link": "/arts/tag/editorspick"
},
"arts_15217": {
"type": "terms",
"id": "arts_15217",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "15217",
"found": true
},
"relationships": {},
"featImg": null,
"name": "zion i",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "zion i Archives | KQED Arts",
"ogDescription": null
},
"ttid": 15229,
"slug": "zion-i",
"isLoading": false,
"link": "/arts/tag/zion-i"
},
"arts_15215": {
"type": "terms",
"id": "arts_15215",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "15215",
"found": true
},
"relationships": {},
"featImg": null,
"name": "zumbi",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "zumbi Archives | KQED Arts",
"ogDescription": null
},
"ttid": 15227,
"slug": "zumbi",
"isLoading": false,
"link": "/arts/tag/zumbi"
},
"arts_4730": {
"type": "terms",
"id": "arts_4730",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "4730",
"found": true
},
"relationships": {},
"featImg": null,
"name": "police",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "police Archives | KQED Arts",
"ogDescription": null
},
"ttid": 4742,
"slug": "police",
"isLoading": false,
"link": "/arts/tag/police"
},
"arts_73": {
"type": "terms",
"id": "arts_73",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "73",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Books",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Books Archives | KQED Arts",
"ogDescription": null
},
"ttid": 74,
"slug": "literature",
"isLoading": false,
"link": "/arts/category/literature"
},
"arts_928": {
"type": "terms",
"id": "arts_928",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "928",
"found": true
},
"relationships": {},
"featImg": null,
"name": "books",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "books Archives | KQED Arts",
"ogDescription": null
},
"ttid": 946,
"slug": "books",
"isLoading": false,
"link": "/arts/tag/books"
},
"arts_6902": {
"type": "terms",
"id": "arts_6902",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "6902",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Cupertino",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Cupertino Archives | KQED Arts",
"ogDescription": null
},
"ttid": 6914,
"slug": "cupertino",
"isLoading": false,
"link": "/arts/tag/cupertino"
},
"arts_2836": {
"type": "terms",
"id": "arts_2836",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2836",
"found": true
},
"relationships": {},
"featImg": null,
"name": "death",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "death Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2848,
"slug": "death",
"isLoading": false,
"link": "/arts/tag/death"
},
"arts_16105": {
"type": "terms",
"id": "arts_16105",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "16105",
"found": true
},
"relationships": {},
"featImg": null,
"name": "immigrants",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "immigrants Archives | KQED Arts",
"ogDescription": null
},
"ttid": 16117,
"slug": "immigrants",
"isLoading": false,
"link": "/arts/tag/immigrants"
},
"arts_7970": {
"type": "terms",
"id": "arts_7970",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "7970",
"found": true
},
"relationships": {},
"featImg": null,
"name": "magazines",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "magazines Archives | KQED Arts",
"ogDescription": null
},
"ttid": 7982,
"slug": "magazines",
"isLoading": false,
"link": "/arts/tag/magazines"
},
"arts_769": {
"type": "terms",
"id": "arts_769",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "769",
"found": true
},
"relationships": {},
"featImg": null,
"name": "review",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "review Archives | KQED Arts",
"ogDescription": null
},
"ttid": 787,
"slug": "review",
"isLoading": false,
"link": "/arts/tag/review"
},
"arts_905": {
"type": "terms",
"id": "arts_905",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "905",
"found": true
},
"relationships": {},
"featImg": null,
"name": "rock",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "rock Archives | KQED Arts",
"ogDescription": null
},
"ttid": 923,
"slug": "rock",
"isLoading": false,
"link": "/arts/tag/rock"
},
"arts_11460": {
"type": "terms",
"id": "arts_11460",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "11460",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Taiwan",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Taiwan Archives | KQED Arts",
"ogDescription": null
},
"ttid": 11472,
"slug": "taiwan",
"isLoading": false,
"link": "/arts/tag/taiwan"
},
"arts_21759": {
"type": "terms",
"id": "arts_21759",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21759",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Podcast",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Podcast Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21771,
"slug": "podcast",
"isLoading": false,
"link": "/arts/category/podcast"
},
"arts_2639": {
"type": "terms",
"id": "arts_2639",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2639",
"found": true
},
"relationships": {},
"featImg": null,
"name": "labor",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "labor Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2651,
"slug": "labor",
"isLoading": false,
"link": "/arts/tag/labor"
},
"arts_3226": {
"type": "terms",
"id": "arts_3226",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3226",
"found": true
},
"relationships": {},
"name": "LGBTQ+",
"slug": "lgbtq",
"taxonomy": "tag",
"description": null,
"featImg": null,
"headData": {
"title": "LGBTQ+ | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 3238,
"isLoading": false,
"link": "/arts/tag/lgbtq"
},
"arts_18522": {
"type": "terms",
"id": "arts_18522",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "18522",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Permanent Behavior",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Permanent Behavior Archives | KQED Arts",
"ogDescription": null
},
"ttid": 18534,
"slug": "permanent-behavior",
"isLoading": false,
"link": "/arts/tag/permanent-behavior"
},
"arts_4640": {
"type": "terms",
"id": "arts_4640",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "4640",
"found": true
},
"relationships": {},
"featImg": null,
"name": "queer",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "queer Archives | KQED Arts",
"ogDescription": null
},
"ttid": 4652,
"slug": "queer",
"isLoading": false,
"link": "/arts/tag/queer"
},
"arts_6764": {
"type": "terms",
"id": "arts_6764",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "6764",
"found": true
},
"relationships": {},
"featImg": "https://ww2.kqed.org/app/uploads/sites/2/2019/02/Rightnowish-Link-for-Social.jpg",
"name": "Rightnowish",
"description": "Art is where you find it. Each week, follow lifelong Oaklander, Pendarvis Harshaw, on a brief but memorable trip through the Bay Area’s creative hubs. ",
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": "Art is where you find it. Each week, follow lifelong Oaklander, Pendarvis Harshaw, on a brief but memorable trip through the Bay Area’s creative hubs.",
"title": "Rightnowish Archives | KQED Arts",
"ogDescription": null
},
"ttid": 6776,
"slug": "rightnowish",
"isLoading": false,
"link": "/arts/tag/rightnowish"
},
"arts_5265": {
"type": "terms",
"id": "arts_5265",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "5265",
"found": true
},
"relationships": {},
"featImg": null,
"name": "social justice",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "social justice Archives | KQED Arts",
"ogDescription": null
},
"ttid": 5277,
"slug": "social-justice",
"isLoading": false,
"link": "/arts/tag/social-justice"
},
"arts_3224": {
"type": "terms",
"id": "arts_3224",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3224",
"found": true
},
"relationships": {},
"featImg": null,
"name": "tattoos",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "tattoos Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3236,
"slug": "tattoos",
"isLoading": false,
"link": "/arts/tag/tattoos"
},
"arts_5747": {
"type": "terms",
"id": "arts_5747",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "5747",
"found": true
},
"relationships": {},
"featImg": null,
"name": "latinx",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "latinx Archives | KQED Arts",
"ogDescription": null
},
"ttid": 5759,
"slug": "latinx",
"isLoading": false,
"link": "/arts/tag/latinx"
},
"arts_1737": {
"type": "terms",
"id": "arts_1737",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1737",
"found": true
},
"relationships": {},
"featImg": null,
"name": "murals",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "murals Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1749,
"slug": "murals",
"isLoading": false,
"link": "/arts/tag/murals"
}
},
"userPermissionsReducer": {
"wpLoggedIn": false
},
"eventsReducer": {},
"fssReducer": {},
"tvDailyScheduleReducer": {},
"tvWeeklyScheduleReducer": {},
"tvPrimetimeScheduleReducer": {},
"tvMonthlyScheduleReducer": {},
"userAccountReducer": {
"user": {
"email": null,
"emailStatus": "EMAIL_UNVALIDATED",
"loggedStatus": "LOGGED_OUT",
"loggingChecked": false,
"articles": [],
"firstName": null,
"lastName": null,
"phoneNumber": null,
"fetchingMembership": false,
"membershipError": false,
"memberships": [
{
"id": null,
"startDate": null,
"firstName": null,
"lastName": null,
"familyNumber": null,
"memberNumber": null,
"memberSince": null,
"expirationDate": null,
"pfsEligible": false,
"isSustaining": false,
"membershipLevel": "Prospect",
"membershipStatus": "Non Member",
"lastGiftDate": null,
"renewalDate": null,
"lastDonationAmount": null
}
]
},
"authModal": {
"isOpen": false,
"view": "LANDING_VIEW"
},
"error": null
},
"youthMediaReducer": {},
"checkPleaseReducer": {
"filterData": {
"region": {
"key": "Restaurant Region",
"filters": [
"Any Region"
]
},
"cuisine": {
"key": "Restaurant Cuisine",
"filters": [
"Any Cuisine"
]
}
},
"restaurantDataById": {},
"restaurantIdsSorted": [],
"error": null
},
"userAgentReducer": {
"userAgent": "Mozilla/5.0 AppleWebKit/537.36 (KHTML, like Gecko; compatible; ClaudeBot/1.0; +claudebot@anthropic.com)",
"isBot": true
}
}
