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"content": "\u003cp>Stand at the back of a punk club like Berkeley’s \u003ca href=\"https://www.kqed.org/arts/tag/924-gilman\">924 Gilman\u003c/a> nowadays, and the entire crowd will invariably be lit up with a hundred little screens, all recording a moment in time to share online later. But at the primordial 924 Gilman of yesteryear, there was often just a single camera in the crowd, held in Murray Bowles’ hand flicking out far above his head, followed by a quick flash.\u003c/p>\n\u003cfigure id=\"attachment_13968871\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968871\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_02-scaled.jpg\" alt=\"A black and white crowd shot at a punk show. Photographer Murray Bowles, a bearded white man in a flannel shirt, is featured mid-frame with his camera raised above his head.\" width=\"2560\" height=\"1917\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_02-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_02-800x599.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_02-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_02-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_02-768x575.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_02-1536x1150.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_02-2048x1534.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_02-1920x1438.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Murray Bowles’ signature ‘Hail Mary’ shooting style. \u003ccite>(Christian Larsen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://lastgasp.com/products/hail-murray\">\u003ci>Hail Murray!: The Bay Area Punk Photography of Murray Bowles, 1982–1995\u003c/i>\u003c/a> (Last Gasp; $39.95) is a sprawling, 270-page monograph of black and white photos representing a wildly creative and supercharged era of local underground music. If you attended any \u003ca href=\"https://www.kqed.org/arts/tag/punk\">Bay Area punk\u003c/a> shows from the 1980s through the 1990s, you likely crossed paths with Murray, its de facto chronicler. Wrapped in a decidedly civilian package — an older man with floppy brown hair, bearded, and bespectacled — he looked more like a computer programmer than a punk (and, unbeknownst to many, he actually \u003ci>was\u003c/i> a programmer of note in early Silicon Valley). At first glance, one might be surprised to learn that this understated character was an essential contributor to the chaotic music scene that birthed bands like Operation Ivy, Blatz and Green Day.\u003c/p>\n\u003cfigure id=\"attachment_13968865\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968865\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_01.jpg\" alt=\"A book cover featuring a black and white crowd photo of punk dancing at an outside show. The book title Hail Murray is in red font at the top.\" width=\"1600\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_01.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_01-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_01-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_01-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_01-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_01-1536x1152.jpg 1536w\" sizes=\"(max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">‘Hail Murray!: The Punk Photography of Murray Bowles, 1982-1995.’ \u003ccite>(Murray Bowles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After the show had ended, while everyone else slept off their hangovers or rotted all night at the 24-hour donut shop, Murray would be hunkered down in the makeshift darkroom set up in his kitchen, spending hours developing pictures of bands. He would later gather up all of the prints and shove them into a shoebox to bring to shows to share and sell for 15¢ a piece, the cost of the paper. (This was later raised to a quarter. Inflation, y’all.) While rifling through Murray’s shoebox, eager eyeballs went on the lookout for pictures of favorite bands or secret crushes, but more than anything else, people were hoping to find a photo of themselves. Being captured in a Murray picture was a stamp of approval. It was a confirmation that you had indeed been there. That you belonged.\u003c/p>\n\u003cp>That manifestation of belonging takes on various forms in the punk scene. It doesn’t matter how shy a person is, or how lacking in musical ability. Everyone has a role. And while bands have always enjoyed the spotlight, they’re just one part of a complex ecosystem. There are zine editors, promoters, the people who feed and house the touring bands, \u003ca href=\"https://www.kqed.org/arts/13830408/going-strong-since-1990-this-low-budget-newsletter-is-a-punk-institution\">Steve List\u003c/a>, the volunteers who sweep the floors and clean the toilets. These often unsung community heroes are the reason the punk scene has been able to function and evolve.\u003c/p>\n\u003cfigure id=\"attachment_13968882\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13968882 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_11-800x599.jpg\" alt=\"A young white girl with long brown hair plays a Gibson guitar\" width=\"800\" height=\"599\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_11-800x599.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_11-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_11-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_11-768x575.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_11-1536x1150.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_11-2048x1534.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_11-1920x1438.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Squat, Nightbreak, San Francisco, 1995. \u003ccite>(Murray Bowles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Why do this work that is neither glamorous nor rewarded? Sometimes community service is a calling. As Murray famously said, “I wanted to be more than just a spectator.” There are those people who see something that needs to be done and are compelled to do it. Surely no one embodies this more than Anna Brown, teacher, longtime East Bay punk, and Murray’s most bulldogged advocate, the person who consented to take on the monumental task of compiling, designing, and editing \u003ci>Hail Murray!\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Anna first met Murray at a show in 1987; the next thing she knew, she was a regular passenger in his Rabbit Cabriolet, on the way to film screenings, art openings, punk shows and hikes. Murray was notoriously inscrutable, and didn’t often talk about himself. Anna, on the other hand, was articulate, outgoing and tough. Their personalities complementing each other, they became lifelong friends.\u003c/p>\n\u003cfigure id=\"attachment_13968961\" class=\"wp-caption aligncenter\" style=\"max-width: 1277px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968961\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Anna.Aaron_.1993.MurrayBowles.jpg\" alt=\"\" width=\"1277\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Anna.Aaron_.1993.MurrayBowles.jpg 1277w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Anna.Aaron_.1993.MurrayBowles-800x501.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Anna.Aaron_.1993.MurrayBowles-1020x639.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Anna.Aaron_.1993.MurrayBowles-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Anna.Aaron_.1993.MurrayBowles-768x481.jpg 768w\" sizes=\"(max-width: 1277px) 100vw, 1277px\">\u003cfigcaption class=\"wp-caption-text\">Anna Brown with friend Aaron, 1993. \u003ccite>(Murray Bowles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When I ask Anna how long she’s been working on this book, she gets a faraway look in her eye. “I’d always wanted to make this book, ever since I was a teenager,” she tells me. “Murray was into the idea but he was very passive in general.”\u003c/p>\n\u003cp>Around 2010, the two began to tackle the project, mind-boggling in its scope. Murray took dozens of photos, every single weekend, for almost 40 years. What would a body of work of that magnitude look like? How could you even begin to catalog and curate it? They caught a break in 2017 when the documentary team behind \u003ci>\u003ca href=\"https://www.kqed.org/arts/13239750/the-definitive-documentary-on-east-bay-punk-is-coming-pit-warning\">Turn It Around: The Story of East Bay Punk\u003c/a>\u003c/i> digitized thousands of Murray’s photos, but that still left thousands \u003cem>more\u003c/em> to sift through.\u003c/p>\n\u003cp>[aside postid='arts_13938024']Then in 2019, Murray Bowles died unexpectedly.\u003c/p>\n\u003cp>“When he died, I felt super guilty because we had this whole plan,” Anna tells me. The two friends had planned to spend Murray’s retirement years going around the country doing book tours and gallery shows, the culmination of a life’s work.\u003c/p>\n\u003cp>“I felt really bad that he didn’t get a chance to do any of that stuff, or to see the book,” Anna says. “So I became extremely determined.”\u003c/p>\n\u003cfigure id=\"attachment_13968952\" class=\"wp-caption aligncenter\" style=\"max-width: 1428px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968952\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Hail-Murray-sampler_Page_06.OpIvy_.jpg\" alt=\"\" width=\"1428\" height=\"906\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Hail-Murray-sampler_Page_06.OpIvy_.jpg 1428w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Hail-Murray-sampler_Page_06.OpIvy_-800x508.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Hail-Murray-sampler_Page_06.OpIvy_-1020x647.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Hail-Murray-sampler_Page_06.OpIvy_-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Hail-Murray-sampler_Page_06.OpIvy_-768x487.jpg 768w\" sizes=\"(max-width: 1428px) 100vw, 1428px\">\u003cfigcaption class=\"wp-caption-text\">Operation Ivy, Gilman Street, Berkeley, 1988. \u003ccite>(Murray Bowles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Anna transcribed interviews, received feedback, taught herself Photoshop and InDesign, solicited funding and found a publisher. Along the way, she experimented with different layouts, and how to best encapsulate the life’s work of her friend.\u003c/p>\n\u003cp>“I felt a lot of anxiety about these pictures that are sacred to our people,” she explains. “They mean so much to everyone. It felt like I was handling an incredibly fragile, delicate thing. I knew that everyone was going to have their own ideas about how they wanted the book to be.”\u003c/p>\n\u003cp>[aside postID='arts_13871151']In the end, Anna decided that Bowles’ aesthetic would be best captured as a monograph. Punk may be messy, but \u003cem>Hail Murray!\u003c/em> is impeccably clean and gorgeous. Each 12” x 9” landscape page is devoted to a single black and white photograph, giving it ample space to breathe.\u003c/p>\n\u003cp>Though there’s a multitude of band photos in the book — from lesser-known entities like thrash band Sluglords to well-known groups like Rancid — many of its most compelling images are moments captured between friends. Young people sprawled on the hoods of cars, friends drinking beer on couches or hunkered down in a stairwell, girls carrying other girls through the pit, inexplicable configurations of body parts at a crowded house show where you’re not even sure where one person ends and the next person begins. There is an implied intimacy to the work, underscored by a minimalist approach to titles and descriptions.\u003c/p>\n\u003cfigure id=\"attachment_13968877\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13968877 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_04-800x599.jpg\" alt=\"Punk band Special Forces plays at UC Berkeley's Sproul Plaza. Orlando, a tall Black man with a mohawk, stands in front with a microphone.\" width=\"800\" height=\"599\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_04-800x599.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_04-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_04-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_04-768x575.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_04-1536x1150.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_04-2048x1534.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_04-1920x1438.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Special Forces, Sproul Plaza, UC Berkeley, 1985. \u003ccite>(Murray Bowles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the absence of elaborate captions or other explicit context cues, one might ask how \u003cem>Hail Murray!\u003c/em> will be perceived by those outside of the community it chronicles. For punks, part of the excitement was digging through Murray’s photo box, scanning the faces in the crowd and wondering: “Am I in here?” But outsiders to the punk scene may be surprised to see themselves here, too, reflected in the universal quest for fun and belonging.\u003c/p>\n\u003cp>“If Murray’s work is ‘about’ anything, it’s about the joy of punk,” Anna says. “Going through his archives, you come away feeling that Murray’s mission, in simplest terms, was to celebrate the feeling of being there on any given night or afternoon — the collective energy of a singular moment.”\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘Hail Murray!: The Bay Area Punk Photography of Murray Bowles 1982–1995’ is celebrated in a release party with live music by Smokers and Nasty World on Sunday, Dec. 8, at 111 Minna Gallery in San Francisco. 4pm–9pm. \u003ca href=\"https://111minnagallery.com/event/hail-murray-book-party/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"title": "Finally, a Book of Murray Bowles’ Bay Area Punk Photography | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Stand at the back of a punk club like Berkeley’s \u003ca href=\"https://www.kqed.org/arts/tag/924-gilman\">924 Gilman\u003c/a> nowadays, and the entire crowd will invariably be lit up with a hundred little screens, all recording a moment in time to share online later. But at the primordial 924 Gilman of yesteryear, there was often just a single camera in the crowd, held in Murray Bowles’ hand flicking out far above his head, followed by a quick flash.\u003c/p>\n\u003cfigure id=\"attachment_13968871\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968871\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_02-scaled.jpg\" alt=\"A black and white crowd shot at a punk show. Photographer Murray Bowles, a bearded white man in a flannel shirt, is featured mid-frame with his camera raised above his head.\" width=\"2560\" height=\"1917\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_02-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_02-800x599.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_02-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_02-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_02-768x575.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_02-1536x1150.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_02-2048x1534.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_02-1920x1438.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Murray Bowles’ signature ‘Hail Mary’ shooting style. \u003ccite>(Christian Larsen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://lastgasp.com/products/hail-murray\">\u003ci>Hail Murray!: The Bay Area Punk Photography of Murray Bowles, 1982–1995\u003c/i>\u003c/a> (Last Gasp; $39.95) is a sprawling, 270-page monograph of black and white photos representing a wildly creative and supercharged era of local underground music. If you attended any \u003ca href=\"https://www.kqed.org/arts/tag/punk\">Bay Area punk\u003c/a> shows from the 1980s through the 1990s, you likely crossed paths with Murray, its de facto chronicler. Wrapped in a decidedly civilian package — an older man with floppy brown hair, bearded, and bespectacled — he looked more like a computer programmer than a punk (and, unbeknownst to many, he actually \u003ci>was\u003c/i> a programmer of note in early Silicon Valley). At first glance, one might be surprised to learn that this understated character was an essential contributor to the chaotic music scene that birthed bands like Operation Ivy, Blatz and Green Day.\u003c/p>\n\u003cfigure id=\"attachment_13968865\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968865\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_01.jpg\" alt=\"A book cover featuring a black and white crowd photo of punk dancing at an outside show. The book title Hail Murray is in red font at the top.\" width=\"1600\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_01.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_01-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_01-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_01-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_01-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_01-1536x1152.jpg 1536w\" sizes=\"(max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">‘Hail Murray!: The Punk Photography of Murray Bowles, 1982-1995.’ \u003ccite>(Murray Bowles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After the show had ended, while everyone else slept off their hangovers or rotted all night at the 24-hour donut shop, Murray would be hunkered down in the makeshift darkroom set up in his kitchen, spending hours developing pictures of bands. He would later gather up all of the prints and shove them into a shoebox to bring to shows to share and sell for 15¢ a piece, the cost of the paper. (This was later raised to a quarter. Inflation, y’all.) While rifling through Murray’s shoebox, eager eyeballs went on the lookout for pictures of favorite bands or secret crushes, but more than anything else, people were hoping to find a photo of themselves. Being captured in a Murray picture was a stamp of approval. It was a confirmation that you had indeed been there. That you belonged.\u003c/p>\n\u003cp>That manifestation of belonging takes on various forms in the punk scene. It doesn’t matter how shy a person is, or how lacking in musical ability. Everyone has a role. And while bands have always enjoyed the spotlight, they’re just one part of a complex ecosystem. There are zine editors, promoters, the people who feed and house the touring bands, \u003ca href=\"https://www.kqed.org/arts/13830408/going-strong-since-1990-this-low-budget-newsletter-is-a-punk-institution\">Steve List\u003c/a>, the volunteers who sweep the floors and clean the toilets. These often unsung community heroes are the reason the punk scene has been able to function and evolve.\u003c/p>\n\u003cfigure id=\"attachment_13968882\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13968882 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_11-800x599.jpg\" alt=\"A young white girl with long brown hair plays a Gibson guitar\" width=\"800\" height=\"599\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_11-800x599.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_11-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_11-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_11-768x575.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_11-1536x1150.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_11-2048x1534.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_11-1920x1438.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Squat, Nightbreak, San Francisco, 1995. \u003ccite>(Murray Bowles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Why do this work that is neither glamorous nor rewarded? Sometimes community service is a calling. As Murray famously said, “I wanted to be more than just a spectator.” There are those people who see something that needs to be done and are compelled to do it. Surely no one embodies this more than Anna Brown, teacher, longtime East Bay punk, and Murray’s most bulldogged advocate, the person who consented to take on the monumental task of compiling, designing, and editing \u003ci>Hail Murray!\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Anna first met Murray at a show in 1987; the next thing she knew, she was a regular passenger in his Rabbit Cabriolet, on the way to film screenings, art openings, punk shows and hikes. Murray was notoriously inscrutable, and didn’t often talk about himself. Anna, on the other hand, was articulate, outgoing and tough. Their personalities complementing each other, they became lifelong friends.\u003c/p>\n\u003cfigure id=\"attachment_13968961\" class=\"wp-caption aligncenter\" style=\"max-width: 1277px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968961\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Anna.Aaron_.1993.MurrayBowles.jpg\" alt=\"\" width=\"1277\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Anna.Aaron_.1993.MurrayBowles.jpg 1277w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Anna.Aaron_.1993.MurrayBowles-800x501.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Anna.Aaron_.1993.MurrayBowles-1020x639.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Anna.Aaron_.1993.MurrayBowles-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Anna.Aaron_.1993.MurrayBowles-768x481.jpg 768w\" sizes=\"(max-width: 1277px) 100vw, 1277px\">\u003cfigcaption class=\"wp-caption-text\">Anna Brown with friend Aaron, 1993. \u003ccite>(Murray Bowles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When I ask Anna how long she’s been working on this book, she gets a faraway look in her eye. “I’d always wanted to make this book, ever since I was a teenager,” she tells me. “Murray was into the idea but he was very passive in general.”\u003c/p>\n\u003cp>Around 2010, the two began to tackle the project, mind-boggling in its scope. Murray took dozens of photos, every single weekend, for almost 40 years. What would a body of work of that magnitude look like? How could you even begin to catalog and curate it? They caught a break in 2017 when the documentary team behind \u003ci>\u003ca href=\"https://www.kqed.org/arts/13239750/the-definitive-documentary-on-east-bay-punk-is-coming-pit-warning\">Turn It Around: The Story of East Bay Punk\u003c/a>\u003c/i> digitized thousands of Murray’s photos, but that still left thousands \u003cem>more\u003c/em> to sift through.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Then in 2019, Murray Bowles died unexpectedly.\u003c/p>\n\u003cp>“When he died, I felt super guilty because we had this whole plan,” Anna tells me. The two friends had planned to spend Murray’s retirement years going around the country doing book tours and gallery shows, the culmination of a life’s work.\u003c/p>\n\u003cp>“I felt really bad that he didn’t get a chance to do any of that stuff, or to see the book,” Anna says. “So I became extremely determined.”\u003c/p>\n\u003cfigure id=\"attachment_13968952\" class=\"wp-caption aligncenter\" style=\"max-width: 1428px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968952\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Hail-Murray-sampler_Page_06.OpIvy_.jpg\" alt=\"\" width=\"1428\" height=\"906\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Hail-Murray-sampler_Page_06.OpIvy_.jpg 1428w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Hail-Murray-sampler_Page_06.OpIvy_-800x508.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Hail-Murray-sampler_Page_06.OpIvy_-1020x647.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Hail-Murray-sampler_Page_06.OpIvy_-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Hail-Murray-sampler_Page_06.OpIvy_-768x487.jpg 768w\" sizes=\"(max-width: 1428px) 100vw, 1428px\">\u003cfigcaption class=\"wp-caption-text\">Operation Ivy, Gilman Street, Berkeley, 1988. \u003ccite>(Murray Bowles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Anna transcribed interviews, received feedback, taught herself Photoshop and InDesign, solicited funding and found a publisher. Along the way, she experimented with different layouts, and how to best encapsulate the life’s work of her friend.\u003c/p>\n\u003cp>“I felt a lot of anxiety about these pictures that are sacred to our people,” she explains. “They mean so much to everyone. It felt like I was handling an incredibly fragile, delicate thing. I knew that everyone was going to have their own ideas about how they wanted the book to be.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In the end, Anna decided that Bowles’ aesthetic would be best captured as a monograph. Punk may be messy, but \u003cem>Hail Murray!\u003c/em> is impeccably clean and gorgeous. Each 12” x 9” landscape page is devoted to a single black and white photograph, giving it ample space to breathe.\u003c/p>\n\u003cp>Though there’s a multitude of band photos in the book — from lesser-known entities like thrash band Sluglords to well-known groups like Rancid — many of its most compelling images are moments captured between friends. Young people sprawled on the hoods of cars, friends drinking beer on couches or hunkered down in a stairwell, girls carrying other girls through the pit, inexplicable configurations of body parts at a crowded house show where you’re not even sure where one person ends and the next person begins. There is an implied intimacy to the work, underscored by a minimalist approach to titles and descriptions.\u003c/p>\n\u003cfigure id=\"attachment_13968877\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13968877 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_04-800x599.jpg\" alt=\"Punk band Special Forces plays at UC Berkeley's Sproul Plaza. Orlando, a tall Black man with a mohawk, stands in front with a microphone.\" width=\"800\" height=\"599\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_04-800x599.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_04-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_04-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_04-768x575.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_04-1536x1150.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_04-2048x1534.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_04-1920x1438.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Special Forces, Sproul Plaza, UC Berkeley, 1985. \u003ccite>(Murray Bowles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the absence of elaborate captions or other explicit context cues, one might ask how \u003cem>Hail Murray!\u003c/em> will be perceived by those outside of the community it chronicles. For punks, part of the excitement was digging through Murray’s photo box, scanning the faces in the crowd and wondering: “Am I in here?” But outsiders to the punk scene may be surprised to see themselves here, too, reflected in the universal quest for fun and belonging.\u003c/p>\n\u003cp>“If Murray’s work is ‘about’ anything, it’s about the joy of punk,” Anna says. “Going through his archives, you come away feeling that Murray’s mission, in simplest terms, was to celebrate the feeling of being there on any given night or afternoon — the collective energy of a singular moment.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Hail Murray!: The Bay Area Punk Photography of Murray Bowles 1982–1995’ is celebrated in a release party with live music by Smokers and Nasty World on Sunday, Dec. 8, at 111 Minna Gallery in San Francisco. 4pm–9pm. \u003ca href=\"https://111minnagallery.com/event/hail-murray-book-party/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "How Do People Fall In Love? In ‘Thirty-Six,’ It’s Not So Simple",
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"content": "\u003cp>One of the many endearing characteristics of the East Bay’s Shotgun Players is their commitment to holiday season shows with zero holiday content, but nonetheless lean heavily into the capricious landscape of human emotion. In other words: the feels. And \u003cem>Thirty-Six\u003c/em>, by Leah Nanako Winkler, is rife with feelings, following two strangers who meet-not-quite-cute on an app and embark on a whirlwind first not-quite-date, accompanied by the hilariously laconic voice of the stage directions (nic feliciano). \u003c/p>\n\u003cp>In her script, Winkler appealingly captures the loaded subtext of such encounters, where every sentence uttered leaves two more unspoken. With so many conflicting sets of cookie-cutter, magazine-published “rules” for modern dating, simply figuring out which ones are in play can be a laborious process. This may explain the initial buzz surrounding Mandy Lee Catron’s 2015 \u003cem>New York Times\u003c/em> article “To Fall in Love With Anyone, Do This,” which introduced psychologist Arthur Aron’s “36 Questions That Lead to Love” to a wider audience. The questions bypass the typical first-date tips and tricks about who pays for what, and which topics are off-limits, and cut straight to the emotional jugular with questions designed to create a sense of intimacy between participants — a way to jumpstart or reinforce a personal connection.\u003c/p>\n\u003cfigure id=\"attachment_13968584\" class=\"wp-caption aligncenter\" style=\"max-width: 1401px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/9-Lauren-Andrei-Garcia-as-Jenny.jpg\" alt=\"\" width=\"1401\" height=\"2000\" class=\"size-full wp-image-13968584\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/9-Lauren-Andrei-Garcia-as-Jenny.jpg 1401w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/9-Lauren-Andrei-Garcia-as-Jenny-800x1142.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/9-Lauren-Andrei-Garcia-as-Jenny-1020x1456.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/9-Lauren-Andrei-Garcia-as-Jenny-160x228.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/9-Lauren-Andrei-Garcia-as-Jenny-768x1096.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/9-Lauren-Andrei-Garcia-as-Jenny-1076x1536.jpg 1076w\" sizes=\"auto, (max-width: 1401px) 100vw, 1401px\">\u003cfigcaption class=\"wp-caption-text\">Lauren Andrei Garcia as Jenny in ‘Thirty-Six’ at Shotgun Players. \u003ccite>(Ben Krantz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That’s David’s (Soren Santos) hope when his date Jenny (Lauren Andrei Garcia) arrives at the quiet New York bistro where they’ve agreed to meet. A transplant from Kentucky (like Winkler), he loves the \u003cem>New York Times\u003c/em>, cheerfully admitting that it forms a cornerstone of his personality. He proposes they give the 36 Questions a shot. She almost immediately declares she’s only here to get laid. “I don’t want to give you depth, and I need you to respect that,” she asserts crisply. Despite their mismatched expectations, David soon winds up at Jenny’s “extremely nice” apartment, and the rest of the evening unfolds apace.\u003c/p>\n\u003cp>There’s a static quality to the staging of \u003cem>Thirty-Six\u003c/em> that enhances its unflinching post-modernity. Paneled white walls — designed by Randy Wong-Westbooke — frame the action like an Instagram reel. Matching clear lucite tables and rolling office chairs are the only furniture, easily transforming from bistro interior to apartment décor to subway seating by the power of suggestion. Table mics on stands, worthy of a podcast studio, pin the actors to their seats during their most intimate moments, allowing that same power of suggestion (and a nod to ASMR) to illustrate a far more ribald encounter than the chastely garbed performers seated on opposite sides of the stage would otherwise suggest. Kudos to director Michelle Talgarow, and intimacy choreographer Natalie Greene, for finding ways to create heat and connection between the actors using technology as a scene partner rather than an obstacle. \u003c/p>\n\u003cfigure id=\"attachment_13968586\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/11-nic-feliciano-as-Stage-Directions-smiling.jpg\" alt=\"\" width=\"2000\" height=\"1331\" class=\"size-full wp-image-13968586\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/11-nic-feliciano-as-Stage-Directions-smiling.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/11-nic-feliciano-as-Stage-Directions-smiling-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/11-nic-feliciano-as-Stage-Directions-smiling-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/11-nic-feliciano-as-Stage-Directions-smiling-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/11-nic-feliciano-as-Stage-Directions-smiling-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/11-nic-feliciano-as-Stage-Directions-smiling-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/11-nic-feliciano-as-Stage-Directions-smiling-1920x1278.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">nic feliciano as Stage Directions in ‘Thirty-Six’ at Shotgun Players. \u003ccite>(Ben Krantz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As Jenny, Garcia presents convincingly as a no-nonsense, bluntly honest Millennial Miss on the prowl. She ricochets frenetically between self-assurance and self-doubt — sometimes spoken, sometimes implied by what’s left unsaid. Santos, as David, cultivates a gentler persona, down to his forgettable attire and unguarded facial expressions that speak volumes, whether telegraphing delight or scrunched up in disgust. As a world premiere production, there were some evident opening-night line stumbles, particularly from Garcia, but nothing that stalled the overall momentum.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>By design, the play often feels like an exercise in eavesdropping, even surveillance, following the two leads around New York City. Anonymous bars and bistros are full of connection-seekers meeting for the first time, and playing “Will they make it to round two?” is a not-unusual pastime for the bystanders they draw briefly into their orbit. David is the man who masks his romantic insecurities by learning to give great head, and Jenny, the woman who savvily uses words like “respect,” “consent” and “social construct,” not-so-secretly longs for the simplicity of a more traditional kind of attachment. But while the 36 questions they pepper each other with do lead to further revelation, and even occasional glimpses of profundity, the stakes never feel particularly urgent. Will they make it to round two? Who knows? Who cares? \u003c/p>\n\u003cfigure id=\"attachment_13968587\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/6-Soren-Santos-as-David.jpg\" alt=\"\" width=\"2000\" height=\"1351\" class=\"size-full wp-image-13968587\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/6-Soren-Santos-as-David.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/6-Soren-Santos-as-David-800x540.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/6-Soren-Santos-as-David-1020x689.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/6-Soren-Santos-as-David-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/6-Soren-Santos-as-David-768x519.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/6-Soren-Santos-as-David-1536x1038.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/6-Soren-Santos-as-David-1920x1297.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Soren Santos as David in ‘Thirty-Six’ at Shotgun Players. \u003ccite>(Ben Krantz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Regardless, as a rom-com with an irreverent streak, \u003cem>Thirty-Six\u003c/em> is a fun, flirty, occasionally dirty romp. Maybe bring a date. You’ll definitely learn something about each other by the end of the evening — even if it’s just how the other reacts to the play’s more humorous forays into kink, and the rare gift that Winkler bestows the actors in the final moments of the piece.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Thirty-Six’ runs through Dec. 29 at the Ashby Stage in Berkeley. \u003ca href=\"http://shotgunplayers.org/online/article/thirty-six\">Details here\u003c/a>.\u003c/em> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>One of the many endearing characteristics of the East Bay’s Shotgun Players is their commitment to holiday season shows with zero holiday content, but nonetheless lean heavily into the capricious landscape of human emotion. In other words: the feels. And \u003cem>Thirty-Six\u003c/em>, by Leah Nanako Winkler, is rife with feelings, following two strangers who meet-not-quite-cute on an app and embark on a whirlwind first not-quite-date, accompanied by the hilariously laconic voice of the stage directions (nic feliciano). \u003c/p>\n\u003cp>In her script, Winkler appealingly captures the loaded subtext of such encounters, where every sentence uttered leaves two more unspoken. With so many conflicting sets of cookie-cutter, magazine-published “rules” for modern dating, simply figuring out which ones are in play can be a laborious process. This may explain the initial buzz surrounding Mandy Lee Catron’s 2015 \u003cem>New York Times\u003c/em> article “To Fall in Love With Anyone, Do This,” which introduced psychologist Arthur Aron’s “36 Questions That Lead to Love” to a wider audience. The questions bypass the typical first-date tips and tricks about who pays for what, and which topics are off-limits, and cut straight to the emotional jugular with questions designed to create a sense of intimacy between participants — a way to jumpstart or reinforce a personal connection.\u003c/p>\n\u003cfigure id=\"attachment_13968584\" class=\"wp-caption aligncenter\" style=\"max-width: 1401px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/9-Lauren-Andrei-Garcia-as-Jenny.jpg\" alt=\"\" width=\"1401\" height=\"2000\" class=\"size-full wp-image-13968584\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/9-Lauren-Andrei-Garcia-as-Jenny.jpg 1401w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/9-Lauren-Andrei-Garcia-as-Jenny-800x1142.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/9-Lauren-Andrei-Garcia-as-Jenny-1020x1456.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/9-Lauren-Andrei-Garcia-as-Jenny-160x228.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/9-Lauren-Andrei-Garcia-as-Jenny-768x1096.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/9-Lauren-Andrei-Garcia-as-Jenny-1076x1536.jpg 1076w\" sizes=\"auto, (max-width: 1401px) 100vw, 1401px\">\u003cfigcaption class=\"wp-caption-text\">Lauren Andrei Garcia as Jenny in ‘Thirty-Six’ at Shotgun Players. \u003ccite>(Ben Krantz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That’s David’s (Soren Santos) hope when his date Jenny (Lauren Andrei Garcia) arrives at the quiet New York bistro where they’ve agreed to meet. A transplant from Kentucky (like Winkler), he loves the \u003cem>New York Times\u003c/em>, cheerfully admitting that it forms a cornerstone of his personality. He proposes they give the 36 Questions a shot. She almost immediately declares she’s only here to get laid. “I don’t want to give you depth, and I need you to respect that,” she asserts crisply. Despite their mismatched expectations, David soon winds up at Jenny’s “extremely nice” apartment, and the rest of the evening unfolds apace.\u003c/p>\n\u003cp>There’s a static quality to the staging of \u003cem>Thirty-Six\u003c/em> that enhances its unflinching post-modernity. Paneled white walls — designed by Randy Wong-Westbooke — frame the action like an Instagram reel. Matching clear lucite tables and rolling office chairs are the only furniture, easily transforming from bistro interior to apartment décor to subway seating by the power of suggestion. Table mics on stands, worthy of a podcast studio, pin the actors to their seats during their most intimate moments, allowing that same power of suggestion (and a nod to ASMR) to illustrate a far more ribald encounter than the chastely garbed performers seated on opposite sides of the stage would otherwise suggest. Kudos to director Michelle Talgarow, and intimacy choreographer Natalie Greene, for finding ways to create heat and connection between the actors using technology as a scene partner rather than an obstacle. \u003c/p>\n\u003cfigure id=\"attachment_13968586\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/11-nic-feliciano-as-Stage-Directions-smiling.jpg\" alt=\"\" width=\"2000\" height=\"1331\" class=\"size-full wp-image-13968586\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/11-nic-feliciano-as-Stage-Directions-smiling.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/11-nic-feliciano-as-Stage-Directions-smiling-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/11-nic-feliciano-as-Stage-Directions-smiling-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/11-nic-feliciano-as-Stage-Directions-smiling-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/11-nic-feliciano-as-Stage-Directions-smiling-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/11-nic-feliciano-as-Stage-Directions-smiling-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/11-nic-feliciano-as-Stage-Directions-smiling-1920x1278.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">nic feliciano as Stage Directions in ‘Thirty-Six’ at Shotgun Players. \u003ccite>(Ben Krantz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As Jenny, Garcia presents convincingly as a no-nonsense, bluntly honest Millennial Miss on the prowl. She ricochets frenetically between self-assurance and self-doubt — sometimes spoken, sometimes implied by what’s left unsaid. Santos, as David, cultivates a gentler persona, down to his forgettable attire and unguarded facial expressions that speak volumes, whether telegraphing delight or scrunched up in disgust. As a world premiere production, there were some evident opening-night line stumbles, particularly from Garcia, but nothing that stalled the overall momentum.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>By design, the play often feels like an exercise in eavesdropping, even surveillance, following the two leads around New York City. Anonymous bars and bistros are full of connection-seekers meeting for the first time, and playing “Will they make it to round two?” is a not-unusual pastime for the bystanders they draw briefly into their orbit. David is the man who masks his romantic insecurities by learning to give great head, and Jenny, the woman who savvily uses words like “respect,” “consent” and “social construct,” not-so-secretly longs for the simplicity of a more traditional kind of attachment. But while the 36 questions they pepper each other with do lead to further revelation, and even occasional glimpses of profundity, the stakes never feel particularly urgent. Will they make it to round two? Who knows? Who cares? \u003c/p>\n\u003cfigure id=\"attachment_13968587\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/6-Soren-Santos-as-David.jpg\" alt=\"\" width=\"2000\" height=\"1351\" class=\"size-full wp-image-13968587\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/6-Soren-Santos-as-David.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/6-Soren-Santos-as-David-800x540.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/6-Soren-Santos-as-David-1020x689.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/6-Soren-Santos-as-David-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/6-Soren-Santos-as-David-768x519.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/6-Soren-Santos-as-David-1536x1038.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/6-Soren-Santos-as-David-1920x1297.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Soren Santos as David in ‘Thirty-Six’ at Shotgun Players. \u003ccite>(Ben Krantz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Regardless, as a rom-com with an irreverent streak, \u003cem>Thirty-Six\u003c/em> is a fun, flirty, occasionally dirty romp. Maybe bring a date. You’ll definitely learn something about each other by the end of the evening — even if it’s just how the other reacts to the play’s more humorous forays into kink, and the rare gift that Winkler bestows the actors in the final moments of the piece.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Thirty-Six’ runs through Dec. 29 at the Ashby Stage in Berkeley. \u003ca href=\"http://shotgunplayers.org/online/article/thirty-six\">Details here\u003c/a>.\u003c/em> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>This week, KQED is proud to present \u003c/em>\u003ca href=\"https://www.kqed.org/arts/tag/movie-theaters-we-have-lost\">Movie Theaters We Have Lost\u003c/a>\u003cem> by Briana Loewinsohn, a cartoonist, teacher and author of the upcoming graphic memoir \u003c/em>\u003ca href=\"https://www.fantagraphics.com/collections/briana-loewinsohn/products/raised-by-ghosts\">Raised By Ghosts\u003c/a>\u003cem>, about growing up in the East Bay.\u003c/em>\u003c/p>\n\u003cp>\u003cem>At a time of \u003ca href=\"https://www.kqed.org/forum/2010101893696/the-pandemic-took-a-number-of-bay-area-movie-theaters-whats-working-for-the-theaters-that-survived\">unprecedented movie theater closures\u003c/a>, Briana illustrates her memories of shuttered East Bay theaters, and the ways they adorned our lives. Today’s installment is the UC Theatre in Berkeley, which is \u003ca href=\"https://theuctheatre.org/\">now a live music venue\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UC_Theater_0.jpg\" alt=\"\" width=\"2000\" height=\"2000\" class=\"aligncenter size-full wp-image-13968290\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UC_Theater_0.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UC_Theater_0-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UC_Theater_0-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UC_Theater_0-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UC_Theater_0-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UC_Theater_0-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UC_Theater_0-1920x1920.jpg 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>This week, KQED is proud to present \u003c/em>\u003ca href=\"https://www.kqed.org/arts/tag/movie-theaters-we-have-lost\">Movie Theaters We Have Lost\u003c/a>\u003cem> by Briana Loewinsohn, a cartoonist, teacher and author of the upcoming graphic memoir \u003c/em>\u003ca href=\"https://www.fantagraphics.com/collections/briana-loewinsohn/products/raised-by-ghosts\">Raised By Ghosts\u003c/a>\u003cem>, about growing up in the East Bay.\u003c/em>\u003c/p>\n\u003cp>\u003cem>At a time of \u003ca href=\"https://www.kqed.org/forum/2010101893696/the-pandemic-took-a-number-of-bay-area-movie-theaters-whats-working-for-the-theaters-that-survived\">unprecedented movie theater closures\u003c/a>, Briana illustrates her memories of shuttered East Bay theaters, and the ways they adorned our lives. Today’s installment is the UC Theatre in Berkeley, which is \u003ca href=\"https://theuctheatre.org/\">now a live music venue\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UC_Theater_0.jpg\" alt=\"\" width=\"2000\" height=\"2000\" class=\"aligncenter size-full wp-image-13968290\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UC_Theater_0.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UC_Theater_0-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UC_Theater_0-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UC_Theater_0-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UC_Theater_0-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UC_Theater_0-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UC_Theater_0-1920x1920.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UC_Theater_1.jpg\" alt=\"\" width=\"2000\" height=\"2000\" class=\"aligncenter size-full wp-image-13968298\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UC_Theater_1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UC_Theater_1-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UC_Theater_1-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UC_Theater_1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UC_Theater_1-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UC_Theater_1-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UC_Theater_1-1920x1920.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UC_Theater_2.jpg\" alt=\"\" width=\"2000\" height=\"2000\" class=\"aligncenter size-full wp-image-13968293\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UC_Theater_2.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UC_Theater_2-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UC_Theater_2-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UC_Theater_2-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UC_Theater_2-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UC_Theater_2-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UC_Theater_2-1920x1920.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "‘Movie Theaters We Have Lost’: United Artists in Berkeley",
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"headTitle": "‘Movie Theaters We Have Lost’: United Artists in Berkeley | KQED",
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"content": "\u003cp>\u003cem>This week, KQED is proud to present \u003c/em>\u003ca href=\"https://www.kqed.org/arts/tag/movie-theaters-we-have-lost\">Movie Theaters We Have Lost\u003c/a>\u003cem> by Briana Loewinsohn, a cartoonist, teacher and author of the upcoming graphic memoir \u003c/em>\u003ca href=\"https://www.fantagraphics.com/collections/briana-loewinsohn/products/raised-by-ghosts\">Raised By Ghosts\u003c/a>\u003cem>, about growing up in the East Bay.\u003c/em>\u003c/p>\n\u003cp>\u003cem>At a time of \u003ca href=\"https://www.kqed.org/forum/2010101893696/the-pandemic-took-a-number-of-bay-area-movie-theaters-whats-working-for-the-theaters-that-survived\">unprecedented movie theater closures\u003c/a>, Briana illustrates her memories of shuttered East Bay theaters, and the ways they adorned our lives. Today’s installment is the United Artists theater in Berkeley (“the UA”), which closed in 2023.\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_0.jpg\" alt=\"\" width=\"2000\" height=\"2000\" class=\"aligncenter size-full wp-image-13968240\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_0.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_0-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_0-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_0-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_0-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_0-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_0-1920x1920.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_1.jpg\" alt=\"\" width=\"2000\" height=\"2000\" class=\"aligncenter size-full wp-image-13968245\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_1-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_1-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_1-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_1-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_1-1920x1920.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_2.jpg\" alt=\"\" width=\"2000\" height=\"2000\" class=\"aligncenter size-full 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https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_3-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_3-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_3-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_3-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_3-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_3-1920x1920.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_4.jpg\" alt=\"\" width=\"2000\" height=\"2000\" class=\"aligncenter size-full wp-image-13968244\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_4.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_4-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_4-1020x1020.jpg 1020w, 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src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_8.jpg\" alt=\"\" width=\"2000\" height=\"2000\" class=\"aligncenter size-full wp-image-13968243\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_8.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_8-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_8-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_8-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_8-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_8-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_8-1920x1920.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_Note.jpg\" alt=\"\" width=\"2000\" height=\"2000\" class=\"aligncenter 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"title": "‘Movie Theaters We Have Lost’: The California Theater in Berkeley",
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"content": "\u003cp>\u003cem>This week, KQED is proud to present \u003c/em>\u003ca href=\"https://www.kqed.org/arts/tag/movie-theaters-we-have-lost\">Movie Theaters We Have Lost\u003c/a>\u003cem> by Briana Loewinsohn, a cartoonist, teacher and author of the upcoming graphic memoir \u003c/em>\u003ca href=\"https://www.fantagraphics.com/collections/briana-loewinsohn/products/raised-by-ghosts\">Raised By Ghosts\u003c/a>\u003cem>, about growing up in the East Bay.\u003c/em>\u003c/p>\n\u003cp>\u003cem>At a time of \u003ca href=\"https://www.kqed.org/forum/2010101893696/the-pandemic-took-a-number-of-bay-area-movie-theaters-whats-working-for-the-theaters-that-survived\">unprecedented movie theater closures\u003c/a>, Briana illustrates her memories of shuttered East Bay theaters, and the ways they adorned our lives. Today’s installment is the California Theater in Berkeley, which closed in 2020.\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/California_3_0.jpg\" alt=\"\" width=\"2000\" height=\"2000\" class=\"aligncenter size-full wp-image-13968210\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/California_3_0.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/California_3_0-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/California_3_0-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/California_3_0-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/California_3_0-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/California_3_0-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/California_3_0-1920x1920.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/California_3_1.jpg\" alt=\"\" width=\"2000\" height=\"2000\" class=\"aligncenter size-full wp-image-13968206\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/California_3_1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/California_3_1-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/California_3_1-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/California_3_1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/California_3_1-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/California_3_1-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/California_3_1-1920x1920.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/California_3_2.jpg\" alt=\"\" width=\"2000\" height=\"2000\" class=\"aligncenter size-full wp-image-13968205\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/California_3_2.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/California_3_2-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/California_3_2-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/California_3_2-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/California_3_2-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/California_3_2-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/California_3_2-1920x1920.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" 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alt=\"\" width=\"2000\" height=\"2000\" class=\"aligncenter size-full wp-image-13968202\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/California_3_4.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/California_3_4-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/California_3_4-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/California_3_4-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/California_3_4-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/California_3_4-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/California_3_4-1920x1920.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/California_3_5.jpg\" alt=\"\" width=\"2000\" height=\"2000\" class=\"aligncenter size-full wp-image-13968203\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/California_3_5.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/California_3_5-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/California_3_5-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/California_3_5-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/California_3_5-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/California_3_5-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/California_3_5-1920x1920.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/California_3_6.jpg\" alt=\"\" width=\"2000\" height=\"2000\" class=\"aligncenter size-full wp-image-13968208\" 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"excerpt": "Briana Loewinsohn illustrates her first visit to Berkeley's California Theater, which closed in 2020.",
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"title": "Remembering the California Theater in Berkeley | KQED",
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"headline": "‘Movie Theaters We Have Lost’: The California Theater in Berkeley",
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"slug": "el-garage-quesabirria-pop-up-dokkabier-berkeley-bowl",
"title": "El Garage Returns to Its Pop-Up Roots",
"publishDate": 1729802050,
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"headTitle": "El Garage Returns to Its Pop-Up Roots | KQED",
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"content": "\u003cp>These days, it feels like nearly every taco truck and taqueria in the Bay Area is slinging quesabirria — those glistening-red, consomé-soaked tacos with their crispy edges and long pulls of stretchy cheese. But before all that, there was El Garage. In the halcyon pre-pandemic days of 2019, the Richmond pop-up was the \u003ca href=\"https://sf.eater.com/2019/11/21/20937687/el-garage-quesabirria-birria-taco-richmond-instagram\">first quesabirria purveyor to truly blow up\u003c/a> in the Bay, and its success helped bring these Tijuana-by-way-of-L.A. beef birria tacos into the mainstream, paving the way for them to become a fixture of our region’s Mexican American food scene.\u003c/p>\n\u003cp>Then, in August, \u003ca href=\"https://www.instagram.com/p/DA7LNKbyL_6/?hl=en\">El Garage quietly closed\u003c/a> — or at least its brick-and-mortar restaurant in Richmond did, ending a four-year run.\u003c/p>\n\u003cp>But Viviana Montano, who runs the business along with her parents and sisters, says El Garage isn’t going anywhere. Instead, the family will focus once again on pop-ups and catering. They’ve already set up one twice-a-month gig at the \u003ca href=\"https://www.instagram.com/dokkaebier_oakland/?hl=en\">Dokkaebier\u003c/a> taproom in Oakland, and they have several other pop-ups in the works — including a possible regular collaboration with Berkeley Bowl.\u003c/p>\n\u003cfigure id=\"attachment_13967250\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967250\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/el-garage-exterior.jpg\" alt=\"Exterior of El Garage taqueria on a sunny day.\" width=\"2000\" height=\"1374\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/el-garage-exterior.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/el-garage-exterior-800x550.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/el-garage-exterior-1020x701.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/el-garage-exterior-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/el-garage-exterior-768x528.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/el-garage-exterior-1536x1055.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/el-garage-exterior-1920x1319.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The brick-and-mortar restaurant in Richmond never got much foot traffic. \u003ccite>(Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>According to Montano, closing the restaurant was one the hardest decisions her family has had to make, but it also seemed inevitable for the better part of a year. “We just weren’t bringing enough people in,” she says.\u003c/p>\n\u003cp>Fans of the taqueria might be familiar with the basic outlines of \u003ca href=\"https://sf.eater.com/2019/11/21/20937687/el-garage-quesabirria-birria-taco-richmond-instagram\">El Garage’s story\u003c/a>: It started as a modest driveway operation in a residential neighborhood, went viral on \u003ca href=\"https://www.instagram.com/el_gaaarage/?hl=en\">Instagram\u003c/a> to the point of routinely attracting hour-long lines and eventually, with much fanfare, \u003ca href=\"https://sf.eater.com/2020/7/9/21319032/quesabirria-tacos-el-garage-richmond\">opened a 5,000-square-foot restaurant\u003c/a> a few blocks away from the Richmond BART station. For many Bay Area food lovers, El Garage’s quesabirria wasn’t \u003ci>just\u003c/i> their introduction to a new taco style. It was one the best tacos they’d ever eaten, period.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But the brick-and-mortar restaurant just never caught on, even as the Montanos expanded their menu to include other crowdpleasers, like pozole and shrimp taquitos. Part of the problem was that there aren’t really any other notable restaurants or attractions in that particular stretch of Richmond, so foot traffic was minimal. Even at the height of El Garage’s popularity, almost all of the business at the restaurant came from takeout and catering. And even when a handful of dine-in customers did sit down for a meal, the dining room still looked empty and sad because it was so big. It became a sort of self-fulfilling feedback loop.\u003c/p>\n\u003cfigure id=\"attachment_13967251\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967251\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/el-garage-shrimp-taquitos.jpg\" alt=\"Shrimp taquitos in a takeout container.\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/el-garage-shrimp-taquitos.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/el-garage-shrimp-taquitos-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/el-garage-shrimp-taquitos-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/el-garage-shrimp-taquitos-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/el-garage-shrimp-taquitos-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/el-garage-shrimp-taquitos-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/el-garage-shrimp-taquitos-1920x1440.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The restaurant introduced new dishes, like this take on shrimp taquitos. \u003ccite>(Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Most of our orders every day would just be DoorDash or UberEats. The restaurant was functioning as a ghost kitchen, essentially,” Montano says. In the end, paying rent for such a giant space just wasn’t sustainable.\u003c/p>\n\u003cp>[aside postID='arts_13963832,arts_13895488']Now that the restaurant is closed, the Montanos are fully focused on doing pop-ups and events — in a sense, going back to their roots as a renegade driveway taco stand. The one regular pop-up they’ve already set up — at Dokkaebier’s Jack London Square taproom — will take place every other Saturday. (The next one is on Oct. 26.) And Montano says she’s also in talks with a restaurant in San Francisco’s Mission District about the possibility of setting up another recurring pop-up there.\u003c/p>\n\u003cp>Perhaps most exciting, Montano says El Garage is currently in the process of scheduling its first pop-up at the cafe at \u003ca href=\"https://www.instagram.com/berkeleybowl/\">Berkeley Bowl West\u003c/a>, probably for sometime in November. If all goes well, that, too, might turn into a regular, long-term gig for as many as two or three days a week.\u003c/p>\n\u003cfigure id=\"attachment_13967253\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967253\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/el-garage-original-pop-up.jpg\" alt=\"A cook makes tacos on a flat-top grill set up inside a tent.\" width=\"2000\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/el-garage-original-pop-up.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/el-garage-original-pop-up-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/el-garage-original-pop-up-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/el-garage-original-pop-up-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/el-garage-original-pop-up-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/el-garage-original-pop-up-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/el-garage-original-pop-up-1920x1920.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">El Garage’s original pop-up (circa 2019) took place inside a tent that was set up in the Montanos’ driveway. \u003ccite>(Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the future, Montano says, El Garage would be open to exploring the possibility of opening a smaller restaurant in a better, more central location. But for now, the family feels much more comfortable with the pop-up model — and they’re confident that their food is good enough, and has big enough of a following, that customers will seek them out.\u003c/p>\n\u003cp>“It’s a less stressful situation than having that 5,000-square-foot restaurant,” Montano says.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/el_gaaarage/?hl=en\">\u003ci>El Garage\u003c/i>\u003c/a>\u003ci> currently pops up on every second and fourth Saturday of the month at \u003c/i>\u003ca href=\"https://www.instagram.com/dokkaebier_oakland/?hl=en\">\u003ci>Dokkaebier\u003c/i>\u003c/a>\u003ci> (420 3rd St.) in Oakland, 2–7:30 p.m. — the next one will be on Saturday, Oct. 26.\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_13967254\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967254\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/el-garage-quesabirria-closeup.jpg\" alt=\"Closeup of a quesabirria taco, with charred edges on the outside of the tortilla.\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/el-garage-quesabirria-closeup.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/el-garage-quesabirria-closeup-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/el-garage-quesabirria-closeup-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/el-garage-quesabirria-closeup-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/el-garage-quesabirria-closeup-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/el-garage-quesabirria-closeup-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/el-garage-quesabirria-closeup-1920x1440.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Close-up of the cheesy, well-charred goodness. \u003ccite>(Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"excerpt": "The quesabirria sensation’s Richmond brick-and-mortar just never really took off.",
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"title": "El Garage Returns to Its Pop-Up Roots | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>These days, it feels like nearly every taco truck and taqueria in the Bay Area is slinging quesabirria — those glistening-red, consomé-soaked tacos with their crispy edges and long pulls of stretchy cheese. But before all that, there was El Garage. In the halcyon pre-pandemic days of 2019, the Richmond pop-up was the \u003ca href=\"https://sf.eater.com/2019/11/21/20937687/el-garage-quesabirria-birria-taco-richmond-instagram\">first quesabirria purveyor to truly blow up\u003c/a> in the Bay, and its success helped bring these Tijuana-by-way-of-L.A. beef birria tacos into the mainstream, paving the way for them to become a fixture of our region’s Mexican American food scene.\u003c/p>\n\u003cp>Then, in August, \u003ca href=\"https://www.instagram.com/p/DA7LNKbyL_6/?hl=en\">El Garage quietly closed\u003c/a> — or at least its brick-and-mortar restaurant in Richmond did, ending a four-year run.\u003c/p>\n\u003cp>But Viviana Montano, who runs the business along with her parents and sisters, says El Garage isn’t going anywhere. Instead, the family will focus once again on pop-ups and catering. They’ve already set up one twice-a-month gig at the \u003ca href=\"https://www.instagram.com/dokkaebier_oakland/?hl=en\">Dokkaebier\u003c/a> taproom in Oakland, and they have several other pop-ups in the works — including a possible regular collaboration with Berkeley Bowl.\u003c/p>\n\u003cfigure id=\"attachment_13967250\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967250\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/el-garage-exterior.jpg\" alt=\"Exterior of El Garage taqueria on a sunny day.\" width=\"2000\" height=\"1374\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/el-garage-exterior.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/el-garage-exterior-800x550.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/el-garage-exterior-1020x701.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/el-garage-exterior-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/el-garage-exterior-768x528.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/el-garage-exterior-1536x1055.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/el-garage-exterior-1920x1319.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The brick-and-mortar restaurant in Richmond never got much foot traffic. \u003ccite>(Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>According to Montano, closing the restaurant was one the hardest decisions her family has had to make, but it also seemed inevitable for the better part of a year. “We just weren’t bringing enough people in,” she says.\u003c/p>\n\u003cp>Fans of the taqueria might be familiar with the basic outlines of \u003ca href=\"https://sf.eater.com/2019/11/21/20937687/el-garage-quesabirria-birria-taco-richmond-instagram\">El Garage’s story\u003c/a>: It started as a modest driveway operation in a residential neighborhood, went viral on \u003ca href=\"https://www.instagram.com/el_gaaarage/?hl=en\">Instagram\u003c/a> to the point of routinely attracting hour-long lines and eventually, with much fanfare, \u003ca href=\"https://sf.eater.com/2020/7/9/21319032/quesabirria-tacos-el-garage-richmond\">opened a 5,000-square-foot restaurant\u003c/a> a few blocks away from the Richmond BART station. For many Bay Area food lovers, El Garage’s quesabirria wasn’t \u003ci>just\u003c/i> their introduction to a new taco style. It was one the best tacos they’d ever eaten, period.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But the brick-and-mortar restaurant just never caught on, even as the Montanos expanded their menu to include other crowdpleasers, like pozole and shrimp taquitos. Part of the problem was that there aren’t really any other notable restaurants or attractions in that particular stretch of Richmond, so foot traffic was minimal. Even at the height of El Garage’s popularity, almost all of the business at the restaurant came from takeout and catering. And even when a handful of dine-in customers did sit down for a meal, the dining room still looked empty and sad because it was so big. It became a sort of self-fulfilling feedback loop.\u003c/p>\n\u003cfigure id=\"attachment_13967251\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967251\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/el-garage-shrimp-taquitos.jpg\" alt=\"Shrimp taquitos in a takeout container.\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/el-garage-shrimp-taquitos.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/el-garage-shrimp-taquitos-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/el-garage-shrimp-taquitos-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/el-garage-shrimp-taquitos-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/el-garage-shrimp-taquitos-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/el-garage-shrimp-taquitos-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/el-garage-shrimp-taquitos-1920x1440.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The restaurant introduced new dishes, like this take on shrimp taquitos. \u003ccite>(Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Most of our orders every day would just be DoorDash or UberEats. The restaurant was functioning as a ghost kitchen, essentially,” Montano says. In the end, paying rent for such a giant space just wasn’t sustainable.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Now that the restaurant is closed, the Montanos are fully focused on doing pop-ups and events — in a sense, going back to their roots as a renegade driveway taco stand. The one regular pop-up they’ve already set up — at Dokkaebier’s Jack London Square taproom — will take place every other Saturday. (The next one is on Oct. 26.) And Montano says she’s also in talks with a restaurant in San Francisco’s Mission District about the possibility of setting up another recurring pop-up there.\u003c/p>\n\u003cp>Perhaps most exciting, Montano says El Garage is currently in the process of scheduling its first pop-up at the cafe at \u003ca href=\"https://www.instagram.com/berkeleybowl/\">Berkeley Bowl West\u003c/a>, probably for sometime in November. If all goes well, that, too, might turn into a regular, long-term gig for as many as two or three days a week.\u003c/p>\n\u003cfigure id=\"attachment_13967253\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967253\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/el-garage-original-pop-up.jpg\" alt=\"A cook makes tacos on a flat-top grill set up inside a tent.\" width=\"2000\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/el-garage-original-pop-up.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/el-garage-original-pop-up-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/el-garage-original-pop-up-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/el-garage-original-pop-up-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/el-garage-original-pop-up-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/el-garage-original-pop-up-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/el-garage-original-pop-up-1920x1920.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">El Garage’s original pop-up (circa 2019) took place inside a tent that was set up in the Montanos’ driveway. \u003ccite>(Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the future, Montano says, El Garage would be open to exploring the possibility of opening a smaller restaurant in a better, more central location. But for now, the family feels much more comfortable with the pop-up model — and they’re confident that their food is good enough, and has big enough of a following, that customers will seek them out.\u003c/p>\n\u003cp>“It’s a less stressful situation than having that 5,000-square-foot restaurant,” Montano says.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/el_gaaarage/?hl=en\">\u003ci>El Garage\u003c/i>\u003c/a>\u003ci> currently pops up on every second and fourth Saturday of the month at \u003c/i>\u003ca href=\"https://www.instagram.com/dokkaebier_oakland/?hl=en\">\u003ci>Dokkaebier\u003c/i>\u003c/a>\u003ci> (420 3rd St.) in Oakland, 2–7:30 p.m. — the next one will be on Saturday, Oct. 26.\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_13967254\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967254\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/el-garage-quesabirria-closeup.jpg\" alt=\"Closeup of a quesabirria taco, with charred edges on the outside of the tortilla.\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/el-garage-quesabirria-closeup.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/el-garage-quesabirria-closeup-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/el-garage-quesabirria-closeup-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/el-garage-quesabirria-closeup-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/el-garage-quesabirria-closeup-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/el-garage-quesabirria-closeup-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/el-garage-quesabirria-closeup-1920x1440.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Close-up of the cheesy, well-charred goodness. \u003ccite>(Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"title": "‘Choir Boy’ Sings to the Heavens at Shotgun Players",
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"content": "\u003cp>Pharus Jonathan Young is gifted beyond measure, and affirms that fact every time he opens his mouth to sing. \u003c/p>\n\u003cp>You see, there’s a sheen on his pipes, informed by his ancestry, the self-assured values of his theology and the knowledge that he, and no one else, needs to be the centerpiece of the choir at Charles R. Drew Preparatory School for Boys.\u003c/p>\n\u003cp>But young men who aren’t terribly masculine-presenting don’t get the privilege of being themselves. While Pharus’ quick and sly tongue matches his perfect pitch, every note he sings with persuasion is a threat to the other young Black men at the school.\u003c/p>\n\u003cfigure id=\"attachment_13966179\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/221_Miles_Meckling_Lockeroom.jpg\" alt=\"\" width=\"2000\" height=\"1331\" class=\"size-full wp-image-13966179\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/221_Miles_Meckling_Lockeroom.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/221_Miles_Meckling_Lockeroom-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/221_Miles_Meckling_Lockeroom-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/221_Miles_Meckling_Lockeroom-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/221_Miles_Meckling_Lockeroom-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/221_Miles_Meckling_Lockeroom-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/221_Miles_Meckling_Lockeroom-1920x1278.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Miles Meckling as Bobby in Shotgun Players’ production of Tarell Alvin McCraney’s ‘Choir Boy.’ \u003ccite>(Ben Krantz/Courtesy Shotgun Players)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In Shotgun Players’ tension-rich production of Tarell Alvin McCraney’s \u003cem>Choir Boy\u003c/em>, a young, effeminate teen faces self-imposed pressure. But the weight he creates for himself can’t compare to the heaviness placed on him by others. \u003c/p>\n\u003cp>With a voice built and blessed by the Lord, Pharus (William Schmidt) is a high school junior who is chosen to lead the choir at commencement exercises. Yet after Pharus decides to react onstage to a homophobic slur quietly delivered mid-song by Bobby (Miles Meckling), Headmaster Marrow (Fred Pitts) must take punitive action. After all, the audience had been loaded with well-connected Drew men, and words like “honor” and “integrity” are bandied about constantly at Drew, issued to students as a way of life.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>While the headmaster demands answers, Pharus’ commitment to being all-Drew through and through means that outing the homophobe isn’t an option. \u003c/p>\n\u003cp>It is too simplistic to suggest Choir Boy is a coming-of-age tale, but the nuances of similar plays about teens navigating very specific challenges are present in McCraney’s story. Director Darryl V. Jones implements an insightful staging that allows the flow of information and ideas to move smoothly through 110 consecutive minutes, even with a fair share of different locations. And while at times the acting can be uneven, even a little hokey, the devices that tell the story are implemented with a keen, sharp eye. \u003c/p>\n\u003cfigure id=\"attachment_13966178\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/122_BoysDancing.jpg\" alt=\"\" width=\"2000\" height=\"1185\" class=\"size-full wp-image-13966178\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/122_BoysDancing.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/122_BoysDancing-800x474.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/122_BoysDancing-1020x604.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/122_BoysDancing-160x95.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/122_BoysDancing-768x455.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/122_BoysDancing-1536x910.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/122_BoysDancing-1920x1138.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) William Schmidt as Pharus, Omar Stewart as David, Wesley Barker as AJ, Brandon DiPaola – Ensemble, Miles Meckling as Bobby and Chachi Delgado as Junior in Shotgun Players’ production of Tarell Alvin McCraney’s ‘Choir Boy.’ \u003ccite>(Ben Krantz/Courtesy Shotgun Players)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A highlight is how music and dance is built to express the richness of the story, and its intersection of religion and sexuality. Luscious harmonies are carefully crafted by music director Daniel Alley, and recordings of multiple numbers, brilliantly engineered by Michael Kelly, create a smoking-hot fusion of sound that houses many surprises expressed through Ashby Stage’s speakers. The stepping in the show, driven home with a thunderous, authoritative boom, is masterful in the hands of choreographer AeJay Anotonis Marquis.\u003c/p>\n\u003cp>The strength of McCraney’s script, as well as Jones implementing his specific vision, is found in the fact that stock characteristics of teenage students do not dominate the storytelling. The students have piercing conversations about a variety of topics: how honor and trust applies in real time, gospel’s true role during chattel slavery, how to live an authentic life while not asking and not telling. Their brittle hearts break with each new discovery that shapes their future worldview, but those same hearts soar when the clouds of adolescence part for even the briefest of moments. \u003c/p>\n\u003cp>The unsung hero is AJ (Wesley Barker), who feels no threat by having a roommate many others would never allow in their presence. AJ is playful, handsome and deep. With AJ, Pharus can embrace his full self, accepting the soft in his dorm room as he deals constantly with the rough everywhere else. Barker advocates beautifully for AJ in a perceptive performance.\u003c/p>\n\u003cfigure id=\"attachment_13966180\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/076Wesley_Barker_as_AJ.jpg\" alt=\"\" width=\"2000\" height=\"1408\" class=\"size-full wp-image-13966180\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/076Wesley_Barker_as_AJ.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/076Wesley_Barker_as_AJ-800x563.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/076Wesley_Barker_as_AJ-1020x718.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/076Wesley_Barker_as_AJ-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/076Wesley_Barker_as_AJ-768x541.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/076Wesley_Barker_as_AJ-1536x1081.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/076Wesley_Barker_as_AJ-1920x1352.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Wesley Barker as AJ in Shotgun Players’ production of Tarell Alvin McCraney’s ‘Choir Boy.’ \u003ccite>(Ben Krantz/Courtesy Shotgun Players)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Others round out the cast swimmingly. David (Omar Stewart) carries a mysterious bent, harboring secrets of his own, with Stewart keeping his David on the periphery of fuller engagement. Yet his voice is unmistakable, each note coming from a darker and more guttural place that ultimately leads to his brutal gut punch.\u003c/p>\n\u003cp>As Mr. Pendleton, the only white character, Malcolm B. Rodgers is able to offer the cringiest cringe while still assuring that his turn as the bumbling teacher has some depth. And as the headmaster, Pitts nicely portrays conflicts that so many carry when reckoning with the issues of authority, morality and tolerance. \u003c/p>\n\u003cp>In one of the play’s tenderest and most poignant moments, AJ invites Pharus into his bed at the end of a long day. It turns out, with the weight of the world on Pharus’ broad, suffocated shoulders, the offer of a shared pillow and some sweet bonding over a good night’s sleep is the most beautiful gift one friend can offer the other.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Choir Boy’ runs through Oct. 26 at Shotgun Players’ Ashby Stage in Berkeley. \u003ca href=\"https://shotgunplayers.org/Online/default.asp\">Details here\u003c/a>.\u003c/em> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Pharus Jonathan Young is gifted beyond measure, and affirms that fact every time he opens his mouth to sing. \u003c/p>\n\u003cp>You see, there’s a sheen on his pipes, informed by his ancestry, the self-assured values of his theology and the knowledge that he, and no one else, needs to be the centerpiece of the choir at Charles R. Drew Preparatory School for Boys.\u003c/p>\n\u003cp>But young men who aren’t terribly masculine-presenting don’t get the privilege of being themselves. While Pharus’ quick and sly tongue matches his perfect pitch, every note he sings with persuasion is a threat to the other young Black men at the school.\u003c/p>\n\u003cfigure id=\"attachment_13966179\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/221_Miles_Meckling_Lockeroom.jpg\" alt=\"\" width=\"2000\" height=\"1331\" class=\"size-full wp-image-13966179\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/221_Miles_Meckling_Lockeroom.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/221_Miles_Meckling_Lockeroom-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/221_Miles_Meckling_Lockeroom-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/221_Miles_Meckling_Lockeroom-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/221_Miles_Meckling_Lockeroom-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/221_Miles_Meckling_Lockeroom-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/221_Miles_Meckling_Lockeroom-1920x1278.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Miles Meckling as Bobby in Shotgun Players’ production of Tarell Alvin McCraney’s ‘Choir Boy.’ \u003ccite>(Ben Krantz/Courtesy Shotgun Players)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In Shotgun Players’ tension-rich production of Tarell Alvin McCraney’s \u003cem>Choir Boy\u003c/em>, a young, effeminate teen faces self-imposed pressure. But the weight he creates for himself can’t compare to the heaviness placed on him by others. \u003c/p>\n\u003cp>With a voice built and blessed by the Lord, Pharus (William Schmidt) is a high school junior who is chosen to lead the choir at commencement exercises. Yet after Pharus decides to react onstage to a homophobic slur quietly delivered mid-song by Bobby (Miles Meckling), Headmaster Marrow (Fred Pitts) must take punitive action. After all, the audience had been loaded with well-connected Drew men, and words like “honor” and “integrity” are bandied about constantly at Drew, issued to students as a way of life.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>While the headmaster demands answers, Pharus’ commitment to being all-Drew through and through means that outing the homophobe isn’t an option. \u003c/p>\n\u003cp>It is too simplistic to suggest Choir Boy is a coming-of-age tale, but the nuances of similar plays about teens navigating very specific challenges are present in McCraney’s story. Director Darryl V. Jones implements an insightful staging that allows the flow of information and ideas to move smoothly through 110 consecutive minutes, even with a fair share of different locations. And while at times the acting can be uneven, even a little hokey, the devices that tell the story are implemented with a keen, sharp eye. \u003c/p>\n\u003cfigure id=\"attachment_13966178\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/122_BoysDancing.jpg\" alt=\"\" width=\"2000\" height=\"1185\" class=\"size-full wp-image-13966178\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/122_BoysDancing.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/122_BoysDancing-800x474.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/122_BoysDancing-1020x604.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/122_BoysDancing-160x95.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/122_BoysDancing-768x455.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/122_BoysDancing-1536x910.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/122_BoysDancing-1920x1138.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) William Schmidt as Pharus, Omar Stewart as David, Wesley Barker as AJ, Brandon DiPaola – Ensemble, Miles Meckling as Bobby and Chachi Delgado as Junior in Shotgun Players’ production of Tarell Alvin McCraney’s ‘Choir Boy.’ \u003ccite>(Ben Krantz/Courtesy Shotgun Players)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A highlight is how music and dance is built to express the richness of the story, and its intersection of religion and sexuality. Luscious harmonies are carefully crafted by music director Daniel Alley, and recordings of multiple numbers, brilliantly engineered by Michael Kelly, create a smoking-hot fusion of sound that houses many surprises expressed through Ashby Stage’s speakers. The stepping in the show, driven home with a thunderous, authoritative boom, is masterful in the hands of choreographer AeJay Anotonis Marquis.\u003c/p>\n\u003cp>The strength of McCraney’s script, as well as Jones implementing his specific vision, is found in the fact that stock characteristics of teenage students do not dominate the storytelling. The students have piercing conversations about a variety of topics: how honor and trust applies in real time, gospel’s true role during chattel slavery, how to live an authentic life while not asking and not telling. Their brittle hearts break with each new discovery that shapes their future worldview, but those same hearts soar when the clouds of adolescence part for even the briefest of moments. \u003c/p>\n\u003cp>The unsung hero is AJ (Wesley Barker), who feels no threat by having a roommate many others would never allow in their presence. AJ is playful, handsome and deep. With AJ, Pharus can embrace his full self, accepting the soft in his dorm room as he deals constantly with the rough everywhere else. Barker advocates beautifully for AJ in a perceptive performance.\u003c/p>\n\u003cfigure id=\"attachment_13966180\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/076Wesley_Barker_as_AJ.jpg\" alt=\"\" width=\"2000\" height=\"1408\" class=\"size-full wp-image-13966180\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/076Wesley_Barker_as_AJ.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/076Wesley_Barker_as_AJ-800x563.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/076Wesley_Barker_as_AJ-1020x718.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/076Wesley_Barker_as_AJ-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/076Wesley_Barker_as_AJ-768x541.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/076Wesley_Barker_as_AJ-1536x1081.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/076Wesley_Barker_as_AJ-1920x1352.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Wesley Barker as AJ in Shotgun Players’ production of Tarell Alvin McCraney’s ‘Choir Boy.’ \u003ccite>(Ben Krantz/Courtesy Shotgun Players)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Others round out the cast swimmingly. David (Omar Stewart) carries a mysterious bent, harboring secrets of his own, with Stewart keeping his David on the periphery of fuller engagement. Yet his voice is unmistakable, each note coming from a darker and more guttural place that ultimately leads to his brutal gut punch.\u003c/p>\n\u003cp>As Mr. Pendleton, the only white character, Malcolm B. Rodgers is able to offer the cringiest cringe while still assuring that his turn as the bumbling teacher has some depth. And as the headmaster, Pitts nicely portrays conflicts that so many carry when reckoning with the issues of authority, morality and tolerance. \u003c/p>\n\u003cp>In one of the play’s tenderest and most poignant moments, AJ invites Pharus into his bed at the end of a long day. It turns out, with the weight of the world on Pharus’ broad, suffocated shoulders, the offer of a shared pillow and some sweet bonding over a good night’s sleep is the most beautiful gift one friend can offer the other.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Choir Boy’ runs through Oct. 26 at Shotgun Players’ Ashby Stage in Berkeley. \u003ca href=\"https://shotgunplayers.org/Online/default.asp\">Details here\u003c/a>.\u003c/em> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "In ‘Songs From The Hole,’ an Illuminating Story of Prison — and Forgiveness",
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"headTitle": "In ‘Songs From The Hole,’ an Illuminating Story of Prison — and Forgiveness | KQED",
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"content": "\u003cp>Forgiveness is a universal concept, relatively simple in nature. A wrong is collectively addressed, an apology is exchanged for a thank you, and ideally all parties move forward with changed behavior.\u003c/p>\n\u003cp>For \u003ca href=\"https://www.instagram.com/jj_eightyeight/?hl=en\">James “JJ’88” Jacobs\u003c/a>, a musician who honed his craft while in solitary confinement in a California state prison, forgiveness is arguably the single most profound concept in his life.\u003c/p>\n\u003cp>Days after he committed a homicide that would lead to his double life sentence, JJ’88 lost his brother to gunfire. While in prison, JJ’88 encountered the man who killed his brother.\u003c/p>\n\u003cp>That ill-fated triangle of trauma, and the concept of forgiveness, are at the center of the film \u003ca href=\"https://www.songsfromthehole.com/\" target=\"_blank\" rel=\"noopener\">\u003ci>Songs From The Hole\u003c/i>\u003c/a>.\u003c/p>\n\u003cp>Co-written by JJ’88, produced by \u003ca href=\"https://www.instagram.com/richiereseda/?hl=en\" target=\"_blank\" rel=\"noopener\">richie reseda\u003c/a> and directed by \u003ca href=\"https://www.contessagayles.com/\" target=\"_blank\" rel=\"noopener\">Contessa Gayles\u003c/a>, the film is technically a documentary. But it might be more accurately described as high-level multimedia artwork about a key aspect of the human experience: forgiveness. It screens at Berkeley’s La Peña Cultural Center on Thursday, Oct. 10, as a part of the 15th annual \u003ca href=\"https://filmfreeway.com/FistUpFilmFestival\" target=\"_blank\" rel=\"noopener\">Fist Up Film Festival\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The story is told through a series of recorded calls on a prison phone between JJ’88 and his family, and interviews with the production team. Excerpts of written letters are sprinkled throughout the storyline, along with family photos and archival home video, plus animation, choreography and reenactments full of symbolism. It’s all anchored by JJ’88’s original songs about prison, being Black and facing oppression in America — with references to spirituality and family.\u003c/p>\n\u003cp>At a particularly low point in JJ’88’s story, he writes a song titled “Steel Grave.” JJ’88’s description of the feeling of being behind bars segues into one of the several music video-like interludes in the film, and a track with heavy bass begins. Before the lyrics start, we see a sheet of lined notebook paper with a note from JJ’88: “*Visual Note: This visual also works as an animation.”\u003c/p>\n\u003cfigure id=\"attachment_13965890\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13965890\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/songsfromthehole_director_contessa_hayles-800x1200.jpg\" alt=\"Filmmaker Contessa Gayles. \" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/songsfromthehole_director_contessa_hayles-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/songsfromthehole_director_contessa_hayles-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/songsfromthehole_director_contessa_hayles-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/songsfromthehole_director_contessa_hayles-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/songsfromthehole_director_contessa_hayles-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/songsfromthehole_director_contessa_hayles-1366x2048.jpg 1366w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/songsfromthehole_director_contessa_hayles.jpg 1467w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Filmmaker Contessa Gayles. \u003ccite>(Courtesy of Contessa Gayles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Those sorts of details, director Gayles says, speak to how they worked together as a unit. “We collaborated through the whole process; we were intentional about that,” says Gayles during a recent video chat.\u003c/p>\n\u003cp>Gayles first met JJ’88 while making her previous film, \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=JYxTzsabkH8\" target=\"_blank\" rel=\"noopener\">The Feminist on Cellblock Y\u003c/a>\u003c/em>, which premiered on \u003cem>CNN\u003c/em> in 2018, covering the story of \u003cem>Songs From the Hole\u003c/em>’s producer, richie reseda.\u003c/p>\n\u003cp>Gayles says the trio formed a well-balanced approach to storytelling for \u003cem>Songs From the Hole\u003c/em>.\u003c/p>\n\u003cp>“We did it over a bunch of phone calls — 15 minutes at a time — and handwritten snail-mailed treatments,” says Gayles, adding that despite the obstacles and power dynamics involved with being incarcerated, JJ’88 had agency. “We did a lot of back and forth, and co-wrote it together.”\u003c/p>\n\u003cp>Gayles sees JJ’88’s story as a way to reach people “looking to heal and move toward a collective freedom.”\u003c/p>\n\u003cp>“I want people to know that healing and transformation is possible,” Gayles says. “There are other ways that we can respond… beyond producing more violence and harm by punishment and revenge.”\u003c/p>\n\u003cp>The local screening of the film, which won the Audience Award at this year’s SXSW during its debut in March, will be a bit of a homecoming. Gayles, originally from Buffalo, New York, was based in the Bay during the two years of the film’s development, supported by \u003ca href=\"https://bavc.org/?gad_source=1&gclid=Cj0KCQjwu-63BhC9ARIsAMMTLXQs8hCkAqILq6d9YhrH9vjswXU8UR44XaDiDz7ENq34wXujIJrq01saAmeREALw_wcB\" target=\"_blank\" rel=\"noopener\">a fellowship with BAVC\u003c/a> and nurtured by the local film community.\u003c/p>\n\u003cp>“I feel proud to bring this back and show folks what we were working on,” says Gayles.\u003c/p>\n\u003cp>The film will be screened as a part of the Fist Up Film Festival, which is celebrating its 15th year. Founded by Berkeley filmmaking siblings Kahlil Jacobs-Fantauzzi and Eli Jacobs-Fantauzzi, the festival bucks several trends of traditional film festivals.\u003c/p>\n\u003cp>“They cost a lot of money,” explains Kahlil Jacobs-Fantauzzi. “And they aren’t connected to community.”\u003c/p>\n\u003cfigure id=\"attachment_13965891\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13965891\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/886221_1680381508895504_1170785570981700985_o-800x533.jpg\" alt=\"The New Parkway is one of the venues hosting screenings of this year's Fist Up Film Festival. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/886221_1680381508895504_1170785570981700985_o-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/886221_1680381508895504_1170785570981700985_o-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/886221_1680381508895504_1170785570981700985_o-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/886221_1680381508895504_1170785570981700985_o-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/886221_1680381508895504_1170785570981700985_o-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/886221_1680381508895504_1170785570981700985_o-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/886221_1680381508895504_1170785570981700985_o.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The New Parkway is one of the venues hosting screenings of this year’s Fist Up Film Festival. \u003ccite>(Courtesy of Kahlil Jacobs-Fantauzzi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In contrast, the Fist Up Film Festival is free for filmmakers to enter, and issues donation-based tickets to screenings.\u003c/p>\n\u003cp>The 10-day festival includes family-friendly films like ‘\u003cem>\u003ca href=\"https://www.eventbrite.com/e/supa-modo-youth-film-matinee-tickets-1010264868417?aff=ebdsoporgprofile&_gl=1*1hgnlg5*_up*MQ..*_ga*NzAwMzc4MTI4LjE3Mjc4MDY2NzU.*_ga_TQVES5V6SH*MTcyNzgwNjY3NS4xLjAuMTcyNzgwNjY3NS4wLjAuMA..\" target=\"_blank\" rel=\"noopener\">Supa Modo\u003c/a>\u003c/em>,’ the tale of a young superheroine in training, as well as social events for adults, like a \u003ca href=\"https://www.eventbrite.com/e/networking-at-kulcha-latino-spanish-reggae-night-tickets-1010905494547\" target=\"_blank\" rel=\"noopener\">Spanish Reggae night\u003c/a> at Kulcha Latino in Oakland.\u003c/p>\n\u003cp>Jacobs-Fantauzzi says \u003cem>Songs From The Hole\u003c/em> fits the festival perfectly.\u003c/p>\n\u003cp>“We believe the idea is to tell the story \u003cem>with\u003c/em> the community instead of \u003cem>about\u003c/em> the community,” says Jacobs-Fantauzzi. “The power will remain in these communities when they’re able to tell their own stories.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Fist Up Film Festival runs Oct. 4–14 at various venues. ‘Songs From The Hole’ screens Thursday, Oct. 10, at La Peña Cultural Center in Berkeley. Tickets and more information \u003ca href=\"https://linktr.ee/fistuptv\" target=\"_blank\" rel=\"noopener\">can be found here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"title": "In ‘Songs From The Hole,’ an Illuminating Story of Prison — and Forgiveness | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Forgiveness is a universal concept, relatively simple in nature. A wrong is collectively addressed, an apology is exchanged for a thank you, and ideally all parties move forward with changed behavior.\u003c/p>\n\u003cp>For \u003ca href=\"https://www.instagram.com/jj_eightyeight/?hl=en\">James “JJ’88” Jacobs\u003c/a>, a musician who honed his craft while in solitary confinement in a California state prison, forgiveness is arguably the single most profound concept in his life.\u003c/p>\n\u003cp>Days after he committed a homicide that would lead to his double life sentence, JJ’88 lost his brother to gunfire. While in prison, JJ’88 encountered the man who killed his brother.\u003c/p>\n\u003cp>That ill-fated triangle of trauma, and the concept of forgiveness, are at the center of the film \u003ca href=\"https://www.songsfromthehole.com/\" target=\"_blank\" rel=\"noopener\">\u003ci>Songs From The Hole\u003c/i>\u003c/a>.\u003c/p>\n\u003cp>Co-written by JJ’88, produced by \u003ca href=\"https://www.instagram.com/richiereseda/?hl=en\" target=\"_blank\" rel=\"noopener\">richie reseda\u003c/a> and directed by \u003ca href=\"https://www.contessagayles.com/\" target=\"_blank\" rel=\"noopener\">Contessa Gayles\u003c/a>, the film is technically a documentary. But it might be more accurately described as high-level multimedia artwork about a key aspect of the human experience: forgiveness. It screens at Berkeley’s La Peña Cultural Center on Thursday, Oct. 10, as a part of the 15th annual \u003ca href=\"https://filmfreeway.com/FistUpFilmFestival\" target=\"_blank\" rel=\"noopener\">Fist Up Film Festival\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The story is told through a series of recorded calls on a prison phone between JJ’88 and his family, and interviews with the production team. Excerpts of written letters are sprinkled throughout the storyline, along with family photos and archival home video, plus animation, choreography and reenactments full of symbolism. It’s all anchored by JJ’88’s original songs about prison, being Black and facing oppression in America — with references to spirituality and family.\u003c/p>\n\u003cp>At a particularly low point in JJ’88’s story, he writes a song titled “Steel Grave.” JJ’88’s description of the feeling of being behind bars segues into one of the several music video-like interludes in the film, and a track with heavy bass begins. Before the lyrics start, we see a sheet of lined notebook paper with a note from JJ’88: “*Visual Note: This visual also works as an animation.”\u003c/p>\n\u003cfigure id=\"attachment_13965890\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13965890\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/songsfromthehole_director_contessa_hayles-800x1200.jpg\" alt=\"Filmmaker Contessa Gayles. \" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/songsfromthehole_director_contessa_hayles-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/songsfromthehole_director_contessa_hayles-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/songsfromthehole_director_contessa_hayles-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/songsfromthehole_director_contessa_hayles-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/songsfromthehole_director_contessa_hayles-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/songsfromthehole_director_contessa_hayles-1366x2048.jpg 1366w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/songsfromthehole_director_contessa_hayles.jpg 1467w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Filmmaker Contessa Gayles. \u003ccite>(Courtesy of Contessa Gayles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Those sorts of details, director Gayles says, speak to how they worked together as a unit. “We collaborated through the whole process; we were intentional about that,” says Gayles during a recent video chat.\u003c/p>\n\u003cp>Gayles first met JJ’88 while making her previous film, \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=JYxTzsabkH8\" target=\"_blank\" rel=\"noopener\">The Feminist on Cellblock Y\u003c/a>\u003c/em>, which premiered on \u003cem>CNN\u003c/em> in 2018, covering the story of \u003cem>Songs From the Hole\u003c/em>’s producer, richie reseda.\u003c/p>\n\u003cp>Gayles says the trio formed a well-balanced approach to storytelling for \u003cem>Songs From the Hole\u003c/em>.\u003c/p>\n\u003cp>“We did it over a bunch of phone calls — 15 minutes at a time — and handwritten snail-mailed treatments,” says Gayles, adding that despite the obstacles and power dynamics involved with being incarcerated, JJ’88 had agency. “We did a lot of back and forth, and co-wrote it together.”\u003c/p>\n\u003cp>Gayles sees JJ’88’s story as a way to reach people “looking to heal and move toward a collective freedom.”\u003c/p>\n\u003cp>“I want people to know that healing and transformation is possible,” Gayles says. “There are other ways that we can respond… beyond producing more violence and harm by punishment and revenge.”\u003c/p>\n\u003cp>The local screening of the film, which won the Audience Award at this year’s SXSW during its debut in March, will be a bit of a homecoming. Gayles, originally from Buffalo, New York, was based in the Bay during the two years of the film’s development, supported by \u003ca href=\"https://bavc.org/?gad_source=1&gclid=Cj0KCQjwu-63BhC9ARIsAMMTLXQs8hCkAqILq6d9YhrH9vjswXU8UR44XaDiDz7ENq34wXujIJrq01saAmeREALw_wcB\" target=\"_blank\" rel=\"noopener\">a fellowship with BAVC\u003c/a> and nurtured by the local film community.\u003c/p>\n\u003cp>“I feel proud to bring this back and show folks what we were working on,” says Gayles.\u003c/p>\n\u003cp>The film will be screened as a part of the Fist Up Film Festival, which is celebrating its 15th year. Founded by Berkeley filmmaking siblings Kahlil Jacobs-Fantauzzi and Eli Jacobs-Fantauzzi, the festival bucks several trends of traditional film festivals.\u003c/p>\n\u003cp>“They cost a lot of money,” explains Kahlil Jacobs-Fantauzzi. “And they aren’t connected to community.”\u003c/p>\n\u003cfigure id=\"attachment_13965891\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13965891\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/886221_1680381508895504_1170785570981700985_o-800x533.jpg\" alt=\"The New Parkway is one of the venues hosting screenings of this year's Fist Up Film Festival. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/886221_1680381508895504_1170785570981700985_o-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/886221_1680381508895504_1170785570981700985_o-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/886221_1680381508895504_1170785570981700985_o-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/886221_1680381508895504_1170785570981700985_o-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/886221_1680381508895504_1170785570981700985_o-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/886221_1680381508895504_1170785570981700985_o-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/886221_1680381508895504_1170785570981700985_o.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The New Parkway is one of the venues hosting screenings of this year’s Fist Up Film Festival. \u003ccite>(Courtesy of Kahlil Jacobs-Fantauzzi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In contrast, the Fist Up Film Festival is free for filmmakers to enter, and issues donation-based tickets to screenings.\u003c/p>\n\u003cp>The 10-day festival includes family-friendly films like ‘\u003cem>\u003ca href=\"https://www.eventbrite.com/e/supa-modo-youth-film-matinee-tickets-1010264868417?aff=ebdsoporgprofile&_gl=1*1hgnlg5*_up*MQ..*_ga*NzAwMzc4MTI4LjE3Mjc4MDY2NzU.*_ga_TQVES5V6SH*MTcyNzgwNjY3NS4xLjAuMTcyNzgwNjY3NS4wLjAuMA..\" target=\"_blank\" rel=\"noopener\">Supa Modo\u003c/a>\u003c/em>,’ the tale of a young superheroine in training, as well as social events for adults, like a \u003ca href=\"https://www.eventbrite.com/e/networking-at-kulcha-latino-spanish-reggae-night-tickets-1010905494547\" target=\"_blank\" rel=\"noopener\">Spanish Reggae night\u003c/a> at Kulcha Latino in Oakland.\u003c/p>\n\u003cp>Jacobs-Fantauzzi says \u003cem>Songs From The Hole\u003c/em> fits the festival perfectly.\u003c/p>\n\u003cp>“We believe the idea is to tell the story \u003cem>with\u003c/em> the community instead of \u003cem>about\u003c/em> the community,” says Jacobs-Fantauzzi. “The power will remain in these communities when they’re able to tell their own stories.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Fist Up Film Festival runs Oct. 4–14 at various venues. ‘Songs From The Hole’ screens Thursday, Oct. 10, at La Peña Cultural Center in Berkeley. Tickets and more information \u003ca href=\"https://linktr.ee/fistuptv\" target=\"_blank\" rel=\"noopener\">can be found here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "wide-hive-records-berkeley-mike-clark-henry-franklin",
"title": "Berkeley’s Wide Hive Records Still Buzzes With Soul After Nearly 25 Years",
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"headTitle": "Berkeley’s Wide Hive Records Still Buzzes With Soul After Nearly 25 Years | KQED",
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"content": "\u003cp>From the outside, the Wide Hive studio looks less than promising, with its battered, nondescript glass door set in an anonymous South Berkeley storefront just off Telegraph Avenue. But to step into the tightly packed space is to enter a sanctuary where some of the world’s greatest jazz musicians have made prized recordings.\u003c/p>\n\u003cp>Sectioned off into three small rooms packed with microphones, keyboards and recording gear, the studio is the primary facility Gregory Howe uses to record sessions for Wide Hive Records. Over the past two decades, it’s served as headquarters for the boutique label documenting revered masters such as the Art Ensemble of Chicago’s Roscoe Mitchell, Los Angeles trombonist Phil Ranelin, Oakland guitar great Calvin Keys, and Larry Coryell, the pioneering fusion guitarist who spans just about every jazz idiom of the past half-century.\u003c/p>\n\u003cp>Punching way above its weight class, Howe’s Wide Hive hasn’t scored a hit (though its four-volume Throttle Elevator Music series found a wide audience by capturing L.A. tenor saxophonist Kamasi Washington in a variety of settings just as his career accelerated). Since founding the label in 1997, Howe’s thoughtfully showcased musicians he likes to describe as “soul warriors.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=RixIgKDjVfM\u003c/p>\n\u003cp>“We’re not just paid in money,” he said. “We’re paid in soul, and for me it’s been like trying to collect parts of that soul with these masters like Roscoe, Phil, Calvin, and Henry Franklin.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Franklin, known to friends and colleagues as “The Skipper,” handles bass on the latest Wide Hive gem, \u003cem>Kosen Rufu\u003c/em>, a session led by New York drummer Mike Clark, who attained near-legendary status in funk (and later, hip-hop) circles for his work with Herbie Hancock’s Headhunters on 1974’s \u003cem>Thrust\u003c/em> and 1975’s \u003cem>Man-Child\u003c/em>. In a sign of both Wide Hive’s increasing visibility but below-the-radar status, Clark celebrates the album’s release with four shows at SFJAZZ, in the center’s small side room, the \u003ca href=\"https://www.sfjazz.org/tickets/productions/24-25/mike-clark-eddie-henderson-henry-franklin/\">Joe Henderson Lab\u003c/a>, on Sept. 14 and 15.\u003c/p>\n\u003cp>What’s frustrating is Clark’s prodigious lineup more than merits prime billing in the SFJAZZ Center’s main Miner Auditorium. Except for percussionist Bill Summers, with whom Clark recently recorded a new Headhunters LP \u003cem>The Stunt Man\u003c/em> at Hyde Street Studios, the SFJAZZ gig features the same all-star cast as the \u003cem>Kosen Rufu\u003c/em> album, including trumpet great Eddie Henderson.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=b1Y9w_sC8Vw\u003c/p>\n\u003cp>Henderson and Clark have played together for over 50 years. In the late 1960s, the Sacramento-reared Clark was a scuffling Bay Area drummer who could usually be found playing jazz and R&B with his best friend, the late bassist Paul Jackson Jr. Henderson had just moved back to the Bay Area after graduating from Howard University to start a psychiatry residency at UCSF’s Langley-Porter Institute. \u003c/p>\n\u003cp>“The first time we played together was at The Both/And on Divisadero around 1969,” Clark recalled. “Ever since then, I’ve called him for gigs and record dates and he’s called me. We’ve got a long history.”\u003c/p>\n\u003cp>[aside postID='arts_13962843']Clark started playing regularly with Franklin in the mid-1990s, when the Riverside-based bassist was already decades into an illustrious career of touring and recording with the likes of Freddie Hubbard, Hampton Hawes, Stevie Wonder and Hugh Masekela. (That was Franklin providing the bounce on the South African trumpet star’s chart-topping 1968 hit “Grazing In the Grass.”)\u003c/p>\n\u003cp>“Henry’s got that post-bop beat, just a great feel,” Clark said. “When I play that ride cymbal, I want the bassist right there with me. He’s got that modern edge.”\u003c/p>\n\u003cp>To the best of his recollection, Franklin hasn’t performed in San Francisco since the mid-1970s. The Wide Hive connection, though, has reintroduced the bassist to the Bay Area. The day before the Joe Henderson Lab gig, Clark will regroup with Henderson and Franklin at Wide Hive to record a quartet session with Patrice Rushen.\u003c/p>\n\u003cp>[aside postID='arts_13955977']“Gregory’s searching for the real deal,” said Franklin, who’s released around two dozen albums on his Skipper Productions label. “He’s got his direction set. And just as importantly, he’s a real sweetheart, just a cool guy to work with.”\u003c/p>\n\u003cp>Rounding out the \u003cem>Kosen Rufu\u003c/em> album and the live quintet at SFJAZZ are two singular players from Seattle, the uncategorizable pianist/keyboardist Wayne Horvitz, best known in some circles for his extensive work with John Zorn, and Critters Buggin saxophonist Skerik, a longtime collaborator with Bay Area bassist Les Claypool.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=GM8gmSyeEsQ\u003c/p>\n\u003cp>When asked about his musical identity, Clark is quick to declare that “given my druthers, I’m a bebop/post-bop drummer,” inspired by the likes of Philly Joe Jones, Elvin Jones and Tony Williams. But given his Headhunters work — his beats from “Actual Proof” and “Butterfly” have been widely sampled — he often gets calls for funk-related dates.\u003c/p>\n\u003cp>Howe, meanwhile, isn’t looking to put Clark in a particular box with his recordings for Wide Hive — something the drummer appreciates.\u003c/p>\n\u003cp>“In my estimation, Mike is of the 10 greatest drummers,” Howe said. “His discography is scary good, and so much of it was done here [in the Bay Area]; the Headhunters, Vince Guaraldi. He can play anything and you know it’s going to be soulful.”\u003c/p>\n\u003cp>For Howe, it’s another opportunity to capture a jazz original in his prime, surrounded by compatriots with their own musical tales to tell.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Mike Clark performs with Eddie Henderson, Henry Franklin and Skerik on Sept. 14 and 15 at SFJAZZ’s Joe Henderson Lab in San Francisco. \u003ca href=\"https://www.sfjazz.org/tickets/productions/24-25/mike-clark-eddie-henderson-henry-franklin/\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"excerpt": "A new release from drummer Mike Clark continues the label's dedication to ‘soul warriors.’",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>From the outside, the Wide Hive studio looks less than promising, with its battered, nondescript glass door set in an anonymous South Berkeley storefront just off Telegraph Avenue. But to step into the tightly packed space is to enter a sanctuary where some of the world’s greatest jazz musicians have made prized recordings.\u003c/p>\n\u003cp>Sectioned off into three small rooms packed with microphones, keyboards and recording gear, the studio is the primary facility Gregory Howe uses to record sessions for Wide Hive Records. Over the past two decades, it’s served as headquarters for the boutique label documenting revered masters such as the Art Ensemble of Chicago’s Roscoe Mitchell, Los Angeles trombonist Phil Ranelin, Oakland guitar great Calvin Keys, and Larry Coryell, the pioneering fusion guitarist who spans just about every jazz idiom of the past half-century.\u003c/p>\n\u003cp>Punching way above its weight class, Howe’s Wide Hive hasn’t scored a hit (though its four-volume Throttle Elevator Music series found a wide audience by capturing L.A. tenor saxophonist Kamasi Washington in a variety of settings just as his career accelerated). Since founding the label in 1997, Howe’s thoughtfully showcased musicians he likes to describe as “soul warriors.”\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/RixIgKDjVfM'\n title='//www.youtube.com/embed/RixIgKDjVfM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“We’re not just paid in money,” he said. “We’re paid in soul, and for me it’s been like trying to collect parts of that soul with these masters like Roscoe, Phil, Calvin, and Henry Franklin.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Franklin, known to friends and colleagues as “The Skipper,” handles bass on the latest Wide Hive gem, \u003cem>Kosen Rufu\u003c/em>, a session led by New York drummer Mike Clark, who attained near-legendary status in funk (and later, hip-hop) circles for his work with Herbie Hancock’s Headhunters on 1974’s \u003cem>Thrust\u003c/em> and 1975’s \u003cem>Man-Child\u003c/em>. In a sign of both Wide Hive’s increasing visibility but below-the-radar status, Clark celebrates the album’s release with four shows at SFJAZZ, in the center’s small side room, the \u003ca href=\"https://www.sfjazz.org/tickets/productions/24-25/mike-clark-eddie-henderson-henry-franklin/\">Joe Henderson Lab\u003c/a>, on Sept. 14 and 15.\u003c/p>\n\u003cp>What’s frustrating is Clark’s prodigious lineup more than merits prime billing in the SFJAZZ Center’s main Miner Auditorium. Except for percussionist Bill Summers, with whom Clark recently recorded a new Headhunters LP \u003cem>The Stunt Man\u003c/em> at Hyde Street Studios, the SFJAZZ gig features the same all-star cast as the \u003cem>Kosen Rufu\u003c/em> album, including trumpet great Eddie Henderson.\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/b1Y9w_sC8Vw'\n title='//www.youtube.com/embed/b1Y9w_sC8Vw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Henderson and Clark have played together for over 50 years. In the late 1960s, the Sacramento-reared Clark was a scuffling Bay Area drummer who could usually be found playing jazz and R&B with his best friend, the late bassist Paul Jackson Jr. Henderson had just moved back to the Bay Area after graduating from Howard University to start a psychiatry residency at UCSF’s Langley-Porter Institute. \u003c/p>\n\u003cp>“The first time we played together was at The Both/And on Divisadero around 1969,” Clark recalled. “Ever since then, I’ve called him for gigs and record dates and he’s called me. We’ve got a long history.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Clark started playing regularly with Franklin in the mid-1990s, when the Riverside-based bassist was already decades into an illustrious career of touring and recording with the likes of Freddie Hubbard, Hampton Hawes, Stevie Wonder and Hugh Masekela. (That was Franklin providing the bounce on the South African trumpet star’s chart-topping 1968 hit “Grazing In the Grass.”)\u003c/p>\n\u003cp>“Henry’s got that post-bop beat, just a great feel,” Clark said. “When I play that ride cymbal, I want the bassist right there with me. He’s got that modern edge.”\u003c/p>\n\u003cp>To the best of his recollection, Franklin hasn’t performed in San Francisco since the mid-1970s. The Wide Hive connection, though, has reintroduced the bassist to the Bay Area. The day before the Joe Henderson Lab gig, Clark will regroup with Henderson and Franklin at Wide Hive to record a quartet session with Patrice Rushen.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“Gregory’s searching for the real deal,” said Franklin, who’s released around two dozen albums on his Skipper Productions label. “He’s got his direction set. And just as importantly, he’s a real sweetheart, just a cool guy to work with.”\u003c/p>\n\u003cp>Rounding out the \u003cem>Kosen Rufu\u003c/em> album and the live quintet at SFJAZZ are two singular players from Seattle, the uncategorizable pianist/keyboardist Wayne Horvitz, best known in some circles for his extensive work with John Zorn, and Critters Buggin saxophonist Skerik, a longtime collaborator with Bay Area bassist Les Claypool.\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/GM8gmSyeEsQ'\n title='//www.youtube.com/embed/GM8gmSyeEsQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>When asked about his musical identity, Clark is quick to declare that “given my druthers, I’m a bebop/post-bop drummer,” inspired by the likes of Philly Joe Jones, Elvin Jones and Tony Williams. But given his Headhunters work — his beats from “Actual Proof” and “Butterfly” have been widely sampled — he often gets calls for funk-related dates.\u003c/p>\n\u003cp>Howe, meanwhile, isn’t looking to put Clark in a particular box with his recordings for Wide Hive — something the drummer appreciates.\u003c/p>\n\u003cp>“In my estimation, Mike is of the 10 greatest drummers,” Howe said. “His discography is scary good, and so much of it was done here [in the Bay Area]; the Headhunters, Vince Guaraldi. He can play anything and you know it’s going to be soulful.”\u003c/p>\n\u003cp>For Howe, it’s another opportunity to capture a jazz original in his prime, surrounded by compatriots with their own musical tales to tell.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Mike Clark performs with Eddie Henderson, Henry Franklin and Skerik on Sept. 14 and 15 at SFJAZZ’s Joe Henderson Lab in San Francisco. \u003ca href=\"https://www.sfjazz.org/tickets/productions/24-25/mike-clark-eddie-henderson-henry-franklin/\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "bizerkeley-vegan-food-festival-berkeley-2024",
"title": "The Bay Area’s Largest Vegan Food Festival Is Also Its Most Diverse",
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"content": "\u003cp>This weekend, one of the Bay Area’s biggest and most forward-thinking food festivals gets underway in downtown Berkeley, offering a multicultural smorgasbord of jollof, lumpia, curry rice bowls, Cajun fried chicken and Dole Whip–style soft serve. Add in an array of mostly local art, apparel and wellness brands, and there will be about 100 vendors in all, the vast majority of which are owner-operated small businesses run by people of color.\u003c/p>\n\u003cp>The biggest catch? Everything will be 100% vegan.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[aside postID='forum_2010101887767,arts_13916044,arts_13915889']\u003c/span>That’s \u003ca href=\"https://www.thebizerkeleyvegan.com/bizerkeley-food-fest-2024\">Bizerkeley Food Festival\u003c/a> in a nutshell. The annual vegan food festival returns to Berkeley’s Martin Luther King Jr. Civic Center Park for its fourth edition this Sunday, Sept. 1. Founder \u003ca href=\"https://www.kqed.org/arts/13915889/berkeley-vegan-food-festival-bizerkeley-vegan\">Erika Hazel\u003c/a>, a Berkeley-born educator and \u003ca href=\"https://thebizerkeleyvegan.weebly.com/\">vegan food blogger\u003c/a>, is committed to showing not only that veganism can be delicious, but also that there’s more to the food than just crunchy granola and microgreens. That it \u003ca href=\"https://www.kqed.org/forum/2010101887767/the-bay-areas-new-and-evolving-vegan-scene-with-luke-tsai\">isn’t a lifestyle \u003ci>only\u003c/i> suitable for affluent white hippies\u003c/a>.\u003c/p>\n\u003cp>So yes, there will be plenty of kombucha on tap at the festival — but also soul food from \u003ca href=\"https://www.instagram.com/theveganhoodchefs/?hl=en\">The Vegan Hood Chefs\u003c/a>, Nigerian fufu and oyster mushroom suya from \u003ca href=\"https://www.instagram.com/thathausavegan/?hl=en\">That Hausa Vegan\u003c/a>, and fusion (plant-based) shrimp po’boy sushi rolls from Sacramento’s \u003ca href=\"https://www.instagram.com/chefj.redd/?hl=en\">Chef J. Redd\u003c/a>. And a number of prominent non-vegan restaurants and food trucks will adapt their menus in order to provide strictly plant-based offerings. \u003ca href=\"https://www.kqed.org/arts/13960580/jollof-festival-oakland-west-african-food-competition-nigerian-sierra-leone\">Championship-pedigreed\u003c/a> jollof rice truck \u003ca href=\"https://www.instagram.com/jollofkitchen/?hl=en\">Jollof Kitchen\u003c/a>, Trinidadian comfort food spot \u003ca href=\"https://www.instagram.com/cocobreezeco/?hl=en\">Cocobreeze\u003c/a> and Filipino street food innovator \u003ca href=\"https://www.instagram.com/thesarapshop/?hl=en\">Sarap Shop\u003c/a> are just a few of the vendors that are sure to attract long lines.\u003c/p>\n\u003cfigure id=\"attachment_13963486\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963486\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/CREDIT-Visionary-Media-Collective_The-Bizerkeley-Food-Fest_Food-2.jpg\" alt=\"Crowd of people at an outdoor food festival.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/CREDIT-Visionary-Media-Collective_The-Bizerkeley-Food-Fest_Food-2.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/CREDIT-Visionary-Media-Collective_The-Bizerkeley-Food-Fest_Food-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/CREDIT-Visionary-Media-Collective_The-Bizerkeley-Food-Fest_Food-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/CREDIT-Visionary-Media-Collective_The-Bizerkeley-Food-Fest_Food-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/CREDIT-Visionary-Media-Collective_The-Bizerkeley-Food-Fest_Food-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/CREDIT-Visionary-Media-Collective_The-Bizerkeley-Food-Fest_Food-2-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/CREDIT-Visionary-Media-Collective_The-Bizerkeley-Food-Fest_Food-2-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Bizerkeley is the Bay Area’s largest vegan food festival. \u003ccite>(Visionary Media Collective)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>All in all, the Bizerkeley festival almost certainly features the most diverse, boldly flavored vegan food lineup you’ll encounter in Northern California this year — the one least likely to leave you asking, “\u003ca href=\"https://www.bonappetit.com/story/white-people-food-meme-explained\">Where’s the seasoning?\u003c/a>”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Meanwhile, it’s also probably the only vegan festival you’ll attend this year headlined by one of the rising stars of Bay Area rap: \u003ca href=\"https://www.kqed.org/arts/13900085/stunnaman02-and-the-big-steppin-energy-in-the-room\">big-steppin’ Stunnaman02\u003c/a> himself. The San Francisco rapper will take the stage to perform his most recent single, “Eat a Salad,” with its very festival-appropriate lyrics: “Your life would hit different if you kept your diet balanced / That poison in your body got your mind filled with malice / Put the bullshit down and go and eat a salad, come on.”\u003c/p>\n\u003cp>As it turns out, Stunnaman02 isn’t coming to Bizerkeley Fest just to perform. As a \u003ca href=\"https://www.kqed.org/arts/13907726/e-40-goon-with-the-spoon-bay-area-rappers-food-entrepreneurs-hustle\">budding food entrepreneur\u003c/a> himself, he’ll also be on hand to sell his \u003ca href=\"https://www.stunnaman02.com/02-juice\">02 Juice\u003c/a> line of limeades.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Bizerkeley Food Festival takes place on Sunday, Sept. 1, noon–6 p.m., at 2151 Martin Luther King Jr. Way. \u003c/i>\u003ca href=\"https://www.eventbrite.com/e/4th-annual-bizerkeley-food-fest-tickets-828035836477\">\u003ci>Tickets\u003c/i>\u003c/a>\u003ci> start at $10.49, with free admission for children 12 years old and younger.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This weekend, one of the Bay Area’s biggest and most forward-thinking food festivals gets underway in downtown Berkeley, offering a multicultural smorgasbord of jollof, lumpia, curry rice bowls, Cajun fried chicken and Dole Whip–style soft serve. Add in an array of mostly local art, apparel and wellness brands, and there will be about 100 vendors in all, the vast majority of which are owner-operated small businesses run by people of color.\u003c/p>\n\u003cp>The biggest catch? Everything will be 100% vegan.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>That’s \u003ca href=\"https://www.thebizerkeleyvegan.com/bizerkeley-food-fest-2024\">Bizerkeley Food Festival\u003c/a> in a nutshell. The annual vegan food festival returns to Berkeley’s Martin Luther King Jr. Civic Center Park for its fourth edition this Sunday, Sept. 1. Founder \u003ca href=\"https://www.kqed.org/arts/13915889/berkeley-vegan-food-festival-bizerkeley-vegan\">Erika Hazel\u003c/a>, a Berkeley-born educator and \u003ca href=\"https://thebizerkeleyvegan.weebly.com/\">vegan food blogger\u003c/a>, is committed to showing not only that veganism can be delicious, but also that there’s more to the food than just crunchy granola and microgreens. That it \u003ca href=\"https://www.kqed.org/forum/2010101887767/the-bay-areas-new-and-evolving-vegan-scene-with-luke-tsai\">isn’t a lifestyle \u003ci>only\u003c/i> suitable for affluent white hippies\u003c/a>.\u003c/p>\n\u003cp>So yes, there will be plenty of kombucha on tap at the festival — but also soul food from \u003ca href=\"https://www.instagram.com/theveganhoodchefs/?hl=en\">The Vegan Hood Chefs\u003c/a>, Nigerian fufu and oyster mushroom suya from \u003ca href=\"https://www.instagram.com/thathausavegan/?hl=en\">That Hausa Vegan\u003c/a>, and fusion (plant-based) shrimp po’boy sushi rolls from Sacramento’s \u003ca href=\"https://www.instagram.com/chefj.redd/?hl=en\">Chef J. Redd\u003c/a>. And a number of prominent non-vegan restaurants and food trucks will adapt their menus in order to provide strictly plant-based offerings. \u003ca href=\"https://www.kqed.org/arts/13960580/jollof-festival-oakland-west-african-food-competition-nigerian-sierra-leone\">Championship-pedigreed\u003c/a> jollof rice truck \u003ca href=\"https://www.instagram.com/jollofkitchen/?hl=en\">Jollof Kitchen\u003c/a>, Trinidadian comfort food spot \u003ca href=\"https://www.instagram.com/cocobreezeco/?hl=en\">Cocobreeze\u003c/a> and Filipino street food innovator \u003ca href=\"https://www.instagram.com/thesarapshop/?hl=en\">Sarap Shop\u003c/a> are just a few of the vendors that are sure to attract long lines.\u003c/p>\n\u003cfigure id=\"attachment_13963486\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963486\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/CREDIT-Visionary-Media-Collective_The-Bizerkeley-Food-Fest_Food-2.jpg\" alt=\"Crowd of people at an outdoor food festival.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/CREDIT-Visionary-Media-Collective_The-Bizerkeley-Food-Fest_Food-2.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/CREDIT-Visionary-Media-Collective_The-Bizerkeley-Food-Fest_Food-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/CREDIT-Visionary-Media-Collective_The-Bizerkeley-Food-Fest_Food-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/CREDIT-Visionary-Media-Collective_The-Bizerkeley-Food-Fest_Food-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/CREDIT-Visionary-Media-Collective_The-Bizerkeley-Food-Fest_Food-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/CREDIT-Visionary-Media-Collective_The-Bizerkeley-Food-Fest_Food-2-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/CREDIT-Visionary-Media-Collective_The-Bizerkeley-Food-Fest_Food-2-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Bizerkeley is the Bay Area’s largest vegan food festival. \u003ccite>(Visionary Media Collective)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>All in all, the Bizerkeley festival almost certainly features the most diverse, boldly flavored vegan food lineup you’ll encounter in Northern California this year — the one least likely to leave you asking, “\u003ca href=\"https://www.bonappetit.com/story/white-people-food-meme-explained\">Where’s the seasoning?\u003c/a>”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Meanwhile, it’s also probably the only vegan festival you’ll attend this year headlined by one of the rising stars of Bay Area rap: \u003ca href=\"https://www.kqed.org/arts/13900085/stunnaman02-and-the-big-steppin-energy-in-the-room\">big-steppin’ Stunnaman02\u003c/a> himself. The San Francisco rapper will take the stage to perform his most recent single, “Eat a Salad,” with its very festival-appropriate lyrics: “Your life would hit different if you kept your diet balanced / That poison in your body got your mind filled with malice / Put the bullshit down and go and eat a salad, come on.”\u003c/p>\n\u003cp>As it turns out, Stunnaman02 isn’t coming to Bizerkeley Fest just to perform. As a \u003ca href=\"https://www.kqed.org/arts/13907726/e-40-goon-with-the-spoon-bay-area-rappers-food-entrepreneurs-hustle\">budding food entrepreneur\u003c/a> himself, he’ll also be on hand to sell his \u003ca href=\"https://www.stunnaman02.com/02-juice\">02 Juice\u003c/a> line of limeades.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Bizerkeley Food Festival takes place on Sunday, Sept. 1, noon–6 p.m., at 2151 Martin Luther King Jr. Way. \u003c/i>\u003ca href=\"https://www.eventbrite.com/e/4th-annual-bizerkeley-food-fest-tickets-828035836477\">\u003ci>Tickets\u003c/i>\u003c/a>\u003ci> start at $10.49, with free admission for children 12 years old and younger.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cfigure id=\"attachment_13959437\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959437\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/kinda2.jpg\" alt=\"Illustration: Two men eating noodles and sushi hand rolls at a bar counter.\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/kinda2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/kinda2-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/kinda2-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/kinda2-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/kinda2-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/kinda2-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Berkeley’s Kinda Izakaya stands apart from the masses of expensive and overly precious izakayas in the Bay Area. \u003ccite>(Thien Pham)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/the-midnight-diners\">\u003ci>The Midnight Diners\u003c/i>\u003c/a>\u003ci> is a regular collaboration between KQED food editor Luke Tsai and graphic novelist \u003c/i>\u003ca href=\"https://www.instagram.com/thiendog/?hl=en\">\u003ci>Thien Pham\u003c/i>\u003c/a>\u003ci>. Follow them each week as they explore the hot pot restaurants, taco carts and 24-hour casino buffets that make up the Bay Area’s after-hours dining scene.\u003c/i>\u003c/p>\n\u003cp>Based on vibes alone, I knew \u003ca href=\"https://www.instagram.com/kinda.izakaya/\">Kinda Izakaya\u003c/a> was going to be my kind of spot the moment I walked in. The walls were papered over with manga panels and vintage-y beer posters featuring sumo wrestlers and lucky cats. Yellow Asahi beer crates had been flipped upside down to use as stools. Strings of paper lanterns and colorful little flags gave the feeling of dining outdoors in an alleyway.\u003c/p>\n\u003cp>I took one whiff of the smoke coming off the charcoal grill, and all of the pleasure receptors in my brain started firing.\u003c/p>\n\u003cp>Open since last summer, Kinda is Berkeley’s newest izakaya — which, broadly defined, is a kind of Japanese pub that serves food that goes well with beer and sake. It’s one of my favorite restaurant genres. But with a few notable \u003ca href=\"https://eastbayexpress.com/review-abura-ya-a-punk-rock-fried-chicken-pop-up-1/\">exceptions\u003c/a>, Bay Area restaurateurs have tended to reinterpret the izakaya to mean an upscale bar that traffics in $15 meat skewers and stingily-portioned $25 plates of raw fish — and closes well before 10 p.m., as if to add insult to injury.\u003c/p>\n\u003cp>What Kinda seems to understand on a molecular level is that izakaya culture is meant to be fun, a little bit boisterous and very, very casual. The restaurant is open until midnight on weekends, and at a little past 9 o’clock on a recent Friday night, the place was packed — a mix of middle-aged couples seated shoulder to shoulder at the bar and groups of twenty- and thirtysomethings chatting happily as they split a big spread of dishes. The dining room thrummed with upbeat J-pop that made you want to dance.\u003c/p>\n\u003cfigure id=\"attachment_13959438\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959438\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/kinda.jpg\" alt=\"Illustration: View of a Japanese izakaya from outside the front window. Paper lanterns and flags are hung up both inside and out.\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/kinda.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/kinda-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/kinda-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/kinda-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/kinda-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/kinda-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">On weekends, Kinda is open — and lively — until midnight. \u003ccite>(Thien Pham)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kinda has the fun and casual part down, even if it isn’t exactly a cheap restaurant; it’d still be a splurge for most college students schlepping over from Cal’s campus, which is a few blocks away. That said, you can buy a big-ass pitcher of cold beer for $24. And the menu is broad and varied enough to make it just as easy to piece together a tasty meal for about $30 a person as it is to ball out and drop a couple hundred bucks.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Most importantly, the menu runs the gamut of typical izakaya food categories — raw seafood, salads, skewers, fried things, skewers, rice bowls, noodles and more — with enough verve and creativity to keep things interesting. If anything, the menu is so long, and everything sounds so fun, that you might be hit with decision-making panic. “Golden spoons” with ikura, uni and Hokkaido scallops? Grilled beef tongue with ponzu, egg yolk and fresh wasabi? That same tongue served on a curry plate? With sufficient stomach space and a more robust budget, we would have ordered it all.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cspan style=\"color: #2b2b2b;font-weight: 400\">[aside postID='arts_13958926,arts_13957599,arts_13955884']\u003c/span>\u003c/span>Most everything we did order hit the spot. There was a block of cold tofu topped with sweet seaweed and salmon roe, equal parts briny and refreshing. There was a big bowl of fried chicken skin (at $10, the deal of the night), as immaculately crunchy as the wonton strips they serve at Americanized Chinese restaurants, which was the ideal match for cold beer. There were hand rolls piled high with grilled eel and ponzu-kissed raw yellowtail. Our favorite was a bowl of udon carbonara topped with bonito flakes and spicy, bright-orange cod roe — a creamy, buttery taste of the sea.\u003c/p>\n\u003cp>We finished with a grilled rice ball that had been brushed with a sweet soy sauce glaze and cooked over hot charcoal until it was smoky and crunchy and perfectly golden-brown: an elite-tier final bite.\u003c/p>\n\u003cp>Kinda is also the rare Bay Area restaurant that feels tailor-made for a solo (midnight) diner — where you can swing by after work, grab a seat at the bar, order a couple of cold appetizers and a plate of mentaiko pasta, and feel completely comfortable and unhurried. I think we can all toast to that.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://kindaizakaya.com/\">\u003ci>Kinda Izakaya\u003c/i>\u003c/a>\u003ci> is open Monday through Thursday 5:30–11 p.m. and Friday to Saturday 5:30 p.m.–midnight at 1941 University Ave. in Berkeley.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13959437\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959437\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/kinda2.jpg\" alt=\"Illustration: Two men eating noodles and sushi hand rolls at a bar counter.\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/kinda2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/kinda2-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/kinda2-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/kinda2-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/kinda2-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/kinda2-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Berkeley’s Kinda Izakaya stands apart from the masses of expensive and overly precious izakayas in the Bay Area. \u003ccite>(Thien Pham)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/the-midnight-diners\">\u003ci>The Midnight Diners\u003c/i>\u003c/a>\u003ci> is a regular collaboration between KQED food editor Luke Tsai and graphic novelist \u003c/i>\u003ca href=\"https://www.instagram.com/thiendog/?hl=en\">\u003ci>Thien Pham\u003c/i>\u003c/a>\u003ci>. Follow them each week as they explore the hot pot restaurants, taco carts and 24-hour casino buffets that make up the Bay Area’s after-hours dining scene.\u003c/i>\u003c/p>\n\u003cp>Based on vibes alone, I knew \u003ca href=\"https://www.instagram.com/kinda.izakaya/\">Kinda Izakaya\u003c/a> was going to be my kind of spot the moment I walked in. The walls were papered over with manga panels and vintage-y beer posters featuring sumo wrestlers and lucky cats. Yellow Asahi beer crates had been flipped upside down to use as stools. Strings of paper lanterns and colorful little flags gave the feeling of dining outdoors in an alleyway.\u003c/p>\n\u003cp>I took one whiff of the smoke coming off the charcoal grill, and all of the pleasure receptors in my brain started firing.\u003c/p>\n\u003cp>Open since last summer, Kinda is Berkeley’s newest izakaya — which, broadly defined, is a kind of Japanese pub that serves food that goes well with beer and sake. It’s one of my favorite restaurant genres. But with a few notable \u003ca href=\"https://eastbayexpress.com/review-abura-ya-a-punk-rock-fried-chicken-pop-up-1/\">exceptions\u003c/a>, Bay Area restaurateurs have tended to reinterpret the izakaya to mean an upscale bar that traffics in $15 meat skewers and stingily-portioned $25 plates of raw fish — and closes well before 10 p.m., as if to add insult to injury.\u003c/p>\n\u003cp>What Kinda seems to understand on a molecular level is that izakaya culture is meant to be fun, a little bit boisterous and very, very casual. The restaurant is open until midnight on weekends, and at a little past 9 o’clock on a recent Friday night, the place was packed — a mix of middle-aged couples seated shoulder to shoulder at the bar and groups of twenty- and thirtysomethings chatting happily as they split a big spread of dishes. The dining room thrummed with upbeat J-pop that made you want to dance.\u003c/p>\n\u003cfigure id=\"attachment_13959438\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959438\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/kinda.jpg\" alt=\"Illustration: View of a Japanese izakaya from outside the front window. Paper lanterns and flags are hung up both inside and out.\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/kinda.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/kinda-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/kinda-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/kinda-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/kinda-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/kinda-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">On weekends, Kinda is open — and lively — until midnight. \u003ccite>(Thien Pham)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kinda has the fun and casual part down, even if it isn’t exactly a cheap restaurant; it’d still be a splurge for most college students schlepping over from Cal’s campus, which is a few blocks away. That said, you can buy a big-ass pitcher of cold beer for $24. And the menu is broad and varied enough to make it just as easy to piece together a tasty meal for about $30 a person as it is to ball out and drop a couple hundred bucks.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Most importantly, the menu runs the gamut of typical izakaya food categories — raw seafood, salads, skewers, fried things, skewers, rice bowls, noodles and more — with enough verve and creativity to keep things interesting. If anything, the menu is so long, and everything sounds so fun, that you might be hit with decision-making panic. “Golden spoons” with ikura, uni and Hokkaido scallops? Grilled beef tongue with ponzu, egg yolk and fresh wasabi? That same tongue served on a curry plate? With sufficient stomach space and a more robust budget, we would have ordered it all.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cspan style=\"color: #2b2b2b;font-weight: 400\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/span>Most everything we did order hit the spot. There was a block of cold tofu topped with sweet seaweed and salmon roe, equal parts briny and refreshing. There was a big bowl of fried chicken skin (at $10, the deal of the night), as immaculately crunchy as the wonton strips they serve at Americanized Chinese restaurants, which was the ideal match for cold beer. There were hand rolls piled high with grilled eel and ponzu-kissed raw yellowtail. Our favorite was a bowl of udon carbonara topped with bonito flakes and spicy, bright-orange cod roe — a creamy, buttery taste of the sea.\u003c/p>\n\u003cp>We finished with a grilled rice ball that had been brushed with a sweet soy sauce glaze and cooked over hot charcoal until it was smoky and crunchy and perfectly golden-brown: an elite-tier final bite.\u003c/p>\n\u003cp>Kinda is also the rare Bay Area restaurant that feels tailor-made for a solo (midnight) diner — where you can swing by after work, grab a seat at the bar, order a couple of cold appetizers and a plate of mentaiko pasta, and feel completely comfortable and unhurried. I think we can all toast to that.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://kindaizakaya.com/\">\u003ci>Kinda Izakaya\u003c/i>\u003c/a>\u003ci> is open Monday through Thursday 5:30–11 p.m. and Friday to Saturday 5:30 p.m.–midnight at 1941 University Ave. in Berkeley.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "permanent-behavior-repping-cali-chicano-tattoo-style",
"title": "Miguel ‘Bounce’ Perez’s Culture Flows Through His Ink",
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"headTitle": "Miguel ‘Bounce’ Perez’s Culture Flows Through His Ink | KQED",
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"content": "\u003cp>\u003ca href=\"#episode-transcript\">\u003cem>\u003ci>\u003cspan style=\"font-weight: 400\">View the full episode transcript\u003c/span>\u003c/i>.\u003c/em>\u003c/a>\u003c/p>\n\u003cp>\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> is a visual artist who owes a lot of his talents to childhood memories with his family. His mother introduced him to sketching, as she’d draw “chola-style” portraits of women with feathered hair and sharp brows. His uncles taught him the art of lettering in “Cali-Chicano” Old English script. And Bounce’s father was part of a car club in West Berkeley, a neighborhood that was also home to a number of graffiti murals.\u003c/p>\n\u003cp>Through these interactions Perez was introduced to what he does today: spreading culture through murals and tattoos.\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://cdn.kqed.org/wp-content/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 Philthy Clean Tattoo in Berkeley. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\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_13918595\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13918595 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/010_KQEDArts_TattooArtistMiguelBouncePerez_08312022-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/010_KQEDArts_TattooArtistMiguelBouncePerez_08312022-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/010_KQEDArts_TattooArtistMiguelBouncePerez_08312022-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/010_KQEDArts_TattooArtistMiguelBouncePerez_08312022-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/010_KQEDArts_TattooArtistMiguelBouncePerez_08312022-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/010_KQEDArts_TattooArtistMiguelBouncePerez_08312022-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/010_KQEDArts_TattooArtistMiguelBouncePerez_08312022.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Miguel Bounce Perez tattoos Lindsey Tran at Philthy Clean Tattoo in Berkeley on Aug. 31, 2022, a continuation of the sleeve Perez tattooed. \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>\u003cem>This story was originally published September 2, 2022 as part of \u003ci>“Permanent Behavior: Getting Tatted in the Bay” a\u003c/i>\u003ca href=\"https://www.kqed.org/arts/13918368/rightnowish-presents-permanent-behavior-getting-tatted-in-the-bay\">\u003cspan class=\"s1\">\u003ci> four-part series\u003c/i>\u003c/span>\u003c/a>\u003ci>, about local tattoo artists.\u003c/i>\u003c/em>\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=KQINC2771419798\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2 id=\"episode-transcript\">Episode Transcript\u003c/h2>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">This is a computer-generated transcript. While our team has reviewed it, there may be errors.\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw, Host: \u003c/b>\u003cspan style=\"font-weight: 400\">Hey, what’s up ya’ll! Welcome to Rightnowish, I’m your host Pendarvis Harshaw bringing you some heavy news. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Rightnowish, the podcast that has brought you a taste of Bay Area arts and culture for the past five years, will be ending soon. Our final episode is July 18th. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">We’ve had a great run, gleaned wisdom from the practitioners, gotten insight from the social scientists and soaked up game from the artists who make this place what it is. Thank you all for this run! Looking back at what we’ve done, it’s amazing. We’ve created a huge archive of what was happening in the Bay Area for the past half decade. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I’ll share more thoughts on the final episode, but for this week we’re going \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">into\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> that rich archive for a classic episode from the summer of 2022, where we talked to a handful of Bay Area tattoo artists for our series called Permanent Behavior.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Beyond the idea of needles rapidly jabbing through skin and leaving indelible ink, we talked about the ins-and-outs of tattoo culture. The art, the business and the politics. We also discussed family, which is a big part of today’s guest’s story.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Miguel “Bounce” Perez was raised in West Berkeley, where his parents taught him artistic techniques like shading and cholo-style lettering. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">He also learned about the impact of declining industry in his neighborhood and his family’s connection to the local car culture– all of which poured into his artistic craft. \u003c/span>\u003cspan style=\"font-weight: 400\">At the center of our conversation was this idea of permanency.\u003c/span>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw,\u003c/b>\u003cb>\u003ci> in clip\u003c/i>\u003c/b>\u003cb>: \u003c/b>\u003cspan style=\"font-weight: 400\">You do work that’s permanent and long lasting. Like I just I talk to artists all the time and there’s a certain impermanence to the art. And so in doing tattoos, like, how do you even approach doing something that you know is going to stick with folks forever? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Miguel “Bounce” Perez, Guest: \u003c/b>\u003cspan style=\"font-weight: 400\">That hit me weird, too, because ah, you know, I started got into graffiti mural art and that’s like, you know, part of the game is it’s going to get covered, it’s going to get gone over. And so I like doing something a little more permanent. I feel like definitely at first, I was like, ‘Oh, sh*t, I can’t go fix this up later. I can’t, I can’t like touch it up in a couple of years when it fades.’ I mean, you can kind of with tattoos, but it’s a whole different thing. So made me a little nervous at first, just like, okay, I definitely got to get it \u003c/span>\u003cspan style=\"font-weight: 400\">right first time. I never did anything in my life permanent seemed like.\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\"> [laughs] \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">When they start tripping about being permanent, ya know, only until you decompose.\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\"> [laughs] \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">More deep thoughts from Miguel “Bounce” Perez, right after this. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Bring us back to the origins, how’d you get started in art in general?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Miguel “Bounce” Perez: \u003c/b>\u003cspan style=\"font-weight: 400\">The first influences are like from my mom. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Miguel “Bounce” Perez: \u003c/b>\u003cspan style=\"font-weight: 400\">She used to draw the little old school, like these kind of chola drawings, you know, the Chicano style. Cholas would like the feathered hair, all nice and detailed. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I remember I used to like kind of create my own little comic characters and my uncles drew too, and they all kind of did that same kind of that Cali-Chicano style. My uncles did like the the cholo letters, you know, we’d see them around the house, like written on the books and all this stuff. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I think it was just more about like seeing them make stuff with their hands. Like my dad was also like carpenter, mechanic, built lowriders and stuff. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I think definitely with the family was the first influence and then I think what really… like in school. I would definitely always try to try to wiggle my way into ‘Ay, Can I just do a poster for like half credit and like, you know, only write half the assignment? Oh yeah.’ So, I started like, you know, early on, I knew I could kind of wiggle it that way, so that was cool. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Like, honestly, one of the things that got me really serious was when, you know, girls would be like, ‘Ooh, that looks pretty. Can you write my name?’ \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[laughs] \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">All right. Yeah. Okay. They like cursive. I mean, let me get my cursive game up.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Gotcha. Okay. So it’s the amalgamation of all those influences, you know a little bit of everything pouring into you. How would you describe like cholo style for someone who was goofy, just didn’t know, you know? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Miguel “Bounce” Perez: \u003c/b>\u003cspan style=\"font-weight: 400\">Like the style kind of came from them trying to emulate, like, old English. And what you’re saying is like old English was ah anything important was written in Old English, like a death certificate, birth certificate, always Old English. So like when you look at cholo style, it is like kind of a simplified version of Old English, just like, you know, the straight up and down letters. But all the letters have this similar like structure that they’re made from. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">But it’s something you don’t need a fancy brush to do. You can do it with like one line or the spray paint or, you know, marker or something. And the thing has always been about, representing people that aren’t really seen and it’s like always been about that. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">It is kind of mind blowing to me that you said, all right, so writing in that like dignified kind of font, if you will, and how it comes from Old English by way of like governing forces. You mentioned like birth certificates, death certificates. And I know that there’s a stereotype around like that type of lettering that it comes from prisons as well, or that there’s, you know, like it’s related to, you know, kind of prison culture. But to say that like, ‘No, this is a way to dignify a people, you know, a group. Hell, whatever I’m writing, whatever word I’m putting in there,’ because I know in like yeah, I know in black culture as well there’s that Old English is definitely a form of tattooing styling that you put words or even commemorate a fallen friend in that font. Sorry, just had a lightbulb moment right there.\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\"> [laughs] \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Miguel’s a child of immigrants who raised him in the industrial bay side neighborhood of West Berkeley. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Miguel “Bounce” Perez: \u003c/b>\u003cspan style=\"font-weight: 400\">Kind of moved around Berkeley a lot. Mexican side was like more West Berkeley, my Filipino side was more technically in North Berkeley. We called it South Central Berkeley.\u003c/span>\u003c/p>\n\u003cp>Right, p\u003cspan style=\"font-weight: 400\">arents first came over. They both came when they were probably about 13, 12 ish. And they happened to both come to Hunter’s Point, there first, and then came to Berkeley around the sixties, something like that. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">How did they describe sixties West Berkeley, to you? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Miguel “Bounce” Perez: \u003c/b>\u003cspan style=\"font-weight: 400\">They never really explained too much about like old school Berkeley. They more… feel like they talk more about when they’re in high school and their partying. Kind of always about chillin’. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Miguel “Bounce” Perez: \u003c/b>\u003cspan style=\"font-weight: 400\">My parents met when they’re when they’re in high school and they’re in Berkeley High. Actually the story is my dad was working at a gas station right on what is like University and MLK or somewhere right there. And my mom was like walking from Berkeley High. And like she said that she saw him smoking a cigarette or somethin’, you know, smoking at the gas station. Some 70’s shi*t. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[laughs]\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> She came over and, you know, asked for a light and supposedly, like he lit her hair on fire like, well, he was. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">At the gas station? How dangerous is that? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Miguel “Bounce” Perez: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah, that’s the story I heard. I mean, my dad my dad was known for embellishing a little bit, so it could be made up, but it sounds pretty cool. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">T\u003c/span>\u003cspan style=\"font-weight: 400\">hey were part of a car club, right? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Miguel “Bounce” Perez: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah, it was called Pueblo Nuevo…Pueblo Nuevo de West Berkeley. My dad and my uncle from my mom’s side had started the car club. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">So how did, how did Berkeley, as a city, pour into your work as an artist? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Miguel “Bounce” Perez: \u003c/b>\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, the recycling mural that was on MLK. The apartment we lived on, it was on Bancroft and, like McKinley, literally a block below Berkeley High. I went \u003c/span>\u003cspan style=\"font-weight: 400\">from seeing all the Chicano styles that my family was doing and seeing the graff on the street and the murals, I think that definitely seeped its way in. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">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/p>\n\u003cp>\u003cb>Miguel “Bounce” Perez: \u003c/b>\u003cspan style=\"font-weight: 400\">T\u003c/span>\u003cspan style=\"font-weight: 400\">rust Your Struggle is like like, 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>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Miguel “Bounce” Perez: \u003c/b>\u003cspan style=\"font-weight: 400\">Some of the earlier things we were doing was these mural tours. You know, like the first one we went to is Mexico. We went started in Mexico and like worked our way down, like on bus all the way to Nicaragua. It is basically donated murals, you know, linked up with different organizations and painted. And I remember one of the last ones we did in 2009, went to the Philippines. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">We were meeting up with these orgs and stuff. Like this is the one we’d probably raised the most money for and put together. 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 sh*t. Like, they don’t need a mural. They need food. They need, like, some clothes.’ \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I think it made us think of different ways. it humbled us and you know, like you ain’t gonna save the world with a painting. Like, it might look pretty. But, you know, some of us have got more into, like, actual, like, legislation. Y’know, my boy Rob is, like, doing, like, children’s books, you know? \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I mean, I’m doing tattoos, which is just like not like a political thing, is a smaller scale, intimate thing, but the thing that’s cool about tattoos it’s always, like well not always, there’s definitely some people are not is getting it for the aesthetics but it’s like you know 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 them guide them through it. You know, if they don’t have, like, the exact idea what they want to do with it.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">That’s so tight, bro, like thinking about life in those transitional periods and like change is the only constant. But like 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, you know, construct the doorway. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Miguel “Bounce” Perez: \u003c/b>\u003cspan style=\"font-weight: 400\">Even sometimes I’m closing it, like, now, you know, don’t go through that door! \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">You’re right, right.\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\"> [laughs] \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Miguel “Bounce” Perez: \u003c/b>\u003cspan style=\"font-weight: 400\">I don’t know if you want that door. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\"> [laughs] \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Do you have any specifically that came from a point of transition in your life? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Miguel “Bounce” Perez: \u003c/b>\u003cspan style=\"font-weight: 400\">The first big ones I got were um, actually my dad had this rose of my mom’s name and I pretty much just tried to, when he passed away in 2009, I pretty much just did the exact same thing he had, on both arms. I mean, those are probably my most meaningful tattoos, maybe I would say. The other ones have been a little more loose. Like, like, ‘Okay, yeah, that looks cool. Let’s do it.’ \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">I definitely know people like, ‘Whatever, I’m in Vegas, time to get tattooed, I ain’t trippin’. But yeah, definitely. When I was younger, it was like, What’s my first tat going to be? Don’t do anything stupid, you know? I went with, you know, my aunt, my mom, my sister, family names, you know, that kind of thing. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Miguel “Bounce” Perez: \u003c/b>\u003cspan style=\"font-weight: 400\">You can’t go wrong with mom’s name, right? \u003cem>[laughs]\u003c/em> \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Right. And so when your mom saw your tattoo that you did in honor of your father, how did she react? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Miguel “Bounce” Perez: \u003c/b>\u003cspan style=\"font-weight: 400\">Um. I mean, I think it definitely. She was sad just because it reminded her of my dad. You know, I remember even. I mean, her saying one time she was like, ‘Damn, you got your dad’s hands. Like, especially with, like, the tattoo.’ Like the same thing.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Like, same placement. Yeah. She’s also proud too because she thinks she’s she’s really proud that I get to do what I love for a living, you know? I feel like it’s almost like that was the reason why they sacrificed to come to this country when they’re young so the kids can, like, do what the f*ck they want. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Miguel’s got a strong POV when it comes to his work, but he says he doesn’t stick to just one style. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Miguel “Bounce” Perez: \u003c/b>\u003cspan style=\"font-weight: 400\">Well, I think, like the big thing for me with tattooing is, you know, I’ve always been about collaboration in my paintings and painting with the crews has always been collaborative. But these like tattoos, it’s like a real collaboration, like because it’s like this is long term bonding. You’re making every time with somebody. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Miguel “Bounce” Perez: \u003c/b>\u003cspan style=\"font-weight: 400\">So I generally try to have it be about more about what they want, you know. I definitely will take, you know, my knowledge and expertise and try to, like, make sure it’s going to be something that’s going to look good years down the line, make that work with what they want, you know. And I think that’s kind of my specialty is like versatility. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">I’m sure you get a mixture of people coming in with different ideas for artwork that they want. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Miguel “Bounce” Perez: \u003c/b>\u003cspan style=\"font-weight: 400\">I remember we got this math club one time, which is funny is they all got like inner lip tattoos, but they all like, if you seen them, you know, you would never thought that they would have had tattoos. But I guess that’s why they went with the inner lip, because that’s like the most hidden places, you know? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Wait, hold on. Wait. A whole math club got the same inner lip tattoo? What did they get tattooed inside their lip? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Miguel “Bounce” Perez: \u003c/b>\u003cspan style=\"font-weight: 400\">They didn’t all get the same thing, but they all got the same place. I remember one of them, I think, said, ‘F*ck off,’ actually. It was funny, they’re all were ‘Yeah, we’re the math club. Yeah. This is our bonding experience.’ And we get that, you know, we get the range.You get that. But we still get, you know, dudes that are spending a lot of time in prison and, you know, want to like, finish off their prison style tattoo. Actually, I’ve actually done a lot of a couple of prison cover ups, too, like: ‘I got this in prison. Can you fix this for me?’ I’ve done a lot of those I feel like.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Do you feel like your work is a community service? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Miguel “Bounce” Perez: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah, I didn’t really think of it like that, but it really is, man. You know, just yesterday, my boy had a Raiders tattoo that, you know, the dude’s, the Raider face dude was like, was all smushed up. Like, you couldn’t see none of the features and \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">couldn’t read the letters and I just brought it back. That was like a service to him, making him feel better about hisself something It’s like a service. It is a really a service, you know. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">All right. So another comparison or just a question I’ve had… So in the graff world, you go from a tool like learning into scribbles, you know, tagging your name to doing bubble letters and working your way up to, you doing huge murals. Yeah is there a similar chain of command in the tattoo world? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Miguel “Bounce” Perez: \u003c/b>\u003cspan style=\"font-weight: 400\">It’s similar in that, um, you definitely got to, like, pay your dues you know to get, like, respected in the industry. You gotta like, you got to apprentice with somebody who’s already respected. Before like, recently the game has hella changed And a lot of a lot of those old-heads will say it’s f*cked up now because, you know, people are learning how to tattoo off of YouTube and sh*t where as even like ten years ago it’s like, literally like like damn near like a f*cking secret society that you had to like. claw and beg to get your way into it. Like a big thing with your apprenticeship is generally not paid. The Apprentice is the one that has to be there on time, has to spend the most hours. You know, has to do like the most like grunt work. And it’s like two years before you can even start to like pick up a machine or something. I mean, this is definitely more like the whole school classic way is definitely changing these last couple of years which. It’s all f*cked up now with social media. New tattooers would get like one famous client, and then all of a sudden they’re, you know, $2,000 an hour. Like damn, your work isn’t even that good. It’s like a big thing about tattooing is like, you don’t really know what you’re doing until you see, like, some sh*t you did like 15 years down the line, you know? \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Like it can be the prettiest, most detailed thing, but the real test is what’s it going to look like 15, 20 years later, you know? Is it going to stay? Is it going to – are the colors are going to hold up? Are your lines going to fade out. So I think definitely like the old school, the old school tattooers there, they’re definitely focused on that more, you know. So I mean, because even before I got into tattooing that traditional style that\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">they call it American Traditional, where it’s like. You know, like the real thick lines, kind of simpler drawings, like, you know, the classic images like the panther or, you know, the kind of like the pin-up style ladies and roses. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Like a kind of didn’t really feel. Before I really knew about tattooing. I didn’t really appreciate that stuff that much, you know. But then after I started doing it and really like, ‘Oh, there’s a reason why those lines are so thick,’, or there’s a reason why it’s so simple because, you know, they want, you know, they want this to look good in 15 years, you know. And this just a. And there’s a reason why they make it bold and simple. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Thank you Miguel Bounce Perez! So much game, thank you. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It’s wild to see the convergence of culture, community and environment– as well as family– all pour into the ways you express yourself artistically, both as a muralist and as a tattoo artist. Thanks for taking some time, and giving us a window into your world.\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">You can find \u003c/span>\u003cspan style=\"font-weight: 400\">Miguel’s\u003c/span>\u003cspan style=\"font-weight: 400\"> work on Instagram at \u003c/span>\u003ca href=\"https://www.instagram.com/misterbouncer/\">\u003cspan style=\"font-weight: 400\">misterbouncer\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">.\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\nThis episode was hosted by me, Pendarvis Harshaw. Marisol Medina-Cadena, Kyanna Moghadam and C\u003c/span>\u003cspan style=\"font-weight: 400\">orey Antonio Rose produced \u003c/span>\u003cspan style=\"font-weight: 400\">this episode. Jen Chien and Chris Hambrick edited this episode. Ceil Muller and Christopher Beale engineered this joint. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The Rightnowish team is also supported by Ugur Dursun, Holly Kernan, Cesar Saldaña, and Katie Sprenger. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Until next time, y’all take care! Peace.\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">Rightnowish is a KQED production.\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\">\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",
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"excerpt": "Tattoo artist Miguel ‘Bounce’ Perez takes inspiration for his art from his family and neighborhood.",
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"description": "Miguel "Bounce" Perez is a visual artist who owes a lot of his talents to childhood memories with his family. His mother introduced him to sketching, as she'd draw “chola-style” portraits of women with feathered hair and sharp brows. His uncles taught him the art of lettering in "Cali-Chicano" Old English script. And Bounce's father was part of a car club in West Berkeley, a neighborhood that was also home to a number of graffiti murals. Through these interactions Perez was introduced to what he does today: spreading culture through murals and tattoos.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"#episode-transcript\">\u003cem>\u003ci>\u003cspan style=\"font-weight: 400\">View the full episode transcript\u003c/span>\u003c/i>.\u003c/em>\u003c/a>\u003c/p>\n\u003cp>\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> is a visual artist who owes a lot of his talents to childhood memories with his family. His mother introduced him to sketching, as she’d draw “chola-style” portraits of women with feathered hair and sharp brows. His uncles taught him the art of lettering in “Cali-Chicano” Old English script. And Bounce’s father was part of a car club in West Berkeley, a neighborhood that was also home to a number of graffiti murals.\u003c/p>\n\u003cp>Through these interactions Perez was introduced to what he does today: spreading culture through murals and tattoos.\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://cdn.kqed.org/wp-content/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 Philthy Clean Tattoo in Berkeley. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"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_13918595\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13918595 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/010_KQEDArts_TattooArtistMiguelBouncePerez_08312022-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/010_KQEDArts_TattooArtistMiguelBouncePerez_08312022-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/010_KQEDArts_TattooArtistMiguelBouncePerez_08312022-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/010_KQEDArts_TattooArtistMiguelBouncePerez_08312022-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/010_KQEDArts_TattooArtistMiguelBouncePerez_08312022-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/010_KQEDArts_TattooArtistMiguelBouncePerez_08312022-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/010_KQEDArts_TattooArtistMiguelBouncePerez_08312022.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Miguel Bounce Perez tattoos Lindsey Tran at Philthy Clean Tattoo in Berkeley on Aug. 31, 2022, a continuation of the sleeve Perez tattooed. \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>\u003cem>This story was originally published September 2, 2022 as part of \u003ci>“Permanent Behavior: Getting Tatted in the Bay” a\u003c/i>\u003ca href=\"https://www.kqed.org/arts/13918368/rightnowish-presents-permanent-behavior-getting-tatted-in-the-bay\">\u003cspan class=\"s1\">\u003ci> four-part series\u003c/i>\u003c/span>\u003c/a>\u003ci>, about local tattoo artists.\u003c/i>\u003c/em>\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=KQINC2771419798\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/div>",
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"content": "\u003cdiv class=\"post-content post-body\">\u003ch2 id=\"episode-transcript\">Episode Transcript\u003c/h2>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">This is a computer-generated transcript. While our team has reviewed it, there may be errors.\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw, Host: \u003c/b>\u003cspan style=\"font-weight: 400\">Hey, what’s up ya’ll! Welcome to Rightnowish, I’m your host Pendarvis Harshaw bringing you some heavy news. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Rightnowish, the podcast that has brought you a taste of Bay Area arts and culture for the past five years, will be ending soon. Our final episode is July 18th. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">We’ve had a great run, gleaned wisdom from the practitioners, gotten insight from the social scientists and soaked up game from the artists who make this place what it is. Thank you all for this run! Looking back at what we’ve done, it’s amazing. We’ve created a huge archive of what was happening in the Bay Area for the past half decade. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I’ll share more thoughts on the final episode, but for this week we’re going \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">into\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> that rich archive for a classic episode from the summer of 2022, where we talked to a handful of Bay Area tattoo artists for our series called Permanent Behavior.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Beyond the idea of needles rapidly jabbing through skin and leaving indelible ink, we talked about the ins-and-outs of tattoo culture. The art, the business and the politics. We also discussed family, which is a big part of today’s guest’s story.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Miguel “Bounce” Perez was raised in West Berkeley, where his parents taught him artistic techniques like shading and cholo-style lettering. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">He also learned about the impact of declining industry in his neighborhood and his family’s connection to the local car culture– all of which poured into his artistic craft. \u003c/span>\u003cspan style=\"font-weight: 400\">At the center of our conversation was this idea of permanency.\u003c/span>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw,\u003c/b>\u003cb>\u003ci> in clip\u003c/i>\u003c/b>\u003cb>: \u003c/b>\u003cspan style=\"font-weight: 400\">You do work that’s permanent and long lasting. Like I just I talk to artists all the time and there’s a certain impermanence to the art. And so in doing tattoos, like, how do you even approach doing something that you know is going to stick with folks forever? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Miguel “Bounce” Perez, Guest: \u003c/b>\u003cspan style=\"font-weight: 400\">That hit me weird, too, because ah, you know, I started got into graffiti mural art and that’s like, you know, part of the game is it’s going to get covered, it’s going to get gone over. And so I like doing something a little more permanent. I feel like definitely at first, I was like, ‘Oh, sh*t, I can’t go fix this up later. I can’t, I can’t like touch it up in a couple of years when it fades.’ I mean, you can kind of with tattoos, but it’s a whole different thing. So made me a little nervous at first, just like, okay, I definitely got to get it \u003c/span>\u003cspan style=\"font-weight: 400\">right first time. I never did anything in my life permanent seemed like.\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\"> [laughs] \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">When they start tripping about being permanent, ya know, only until you decompose.\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\"> [laughs] \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">More deep thoughts from Miguel “Bounce” Perez, right after this. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Bring us back to the origins, how’d you get started in art in general?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Miguel “Bounce” Perez: \u003c/b>\u003cspan style=\"font-weight: 400\">The first influences are like from my mom. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Miguel “Bounce” Perez: \u003c/b>\u003cspan style=\"font-weight: 400\">She used to draw the little old school, like these kind of chola drawings, you know, the Chicano style. Cholas would like the feathered hair, all nice and detailed. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I remember I used to like kind of create my own little comic characters and my uncles drew too, and they all kind of did that same kind of that Cali-Chicano style. My uncles did like the the cholo letters, you know, we’d see them around the house, like written on the books and all this stuff. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I think it was just more about like seeing them make stuff with their hands. Like my dad was also like carpenter, mechanic, built lowriders and stuff. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I think definitely with the family was the first influence and then I think what really… like in school. I would definitely always try to try to wiggle my way into ‘Ay, Can I just do a poster for like half credit and like, you know, only write half the assignment? Oh yeah.’ So, I started like, you know, early on, I knew I could kind of wiggle it that way, so that was cool. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Like, honestly, one of the things that got me really serious was when, you know, girls would be like, ‘Ooh, that looks pretty. Can you write my name?’ \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[laughs] \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">All right. Yeah. Okay. They like cursive. I mean, let me get my cursive game up.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Gotcha. Okay. So it’s the amalgamation of all those influences, you know a little bit of everything pouring into you. How would you describe like cholo style for someone who was goofy, just didn’t know, you know? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Miguel “Bounce” Perez: \u003c/b>\u003cspan style=\"font-weight: 400\">Like the style kind of came from them trying to emulate, like, old English. And what you’re saying is like old English was ah anything important was written in Old English, like a death certificate, birth certificate, always Old English. So like when you look at cholo style, it is like kind of a simplified version of Old English, just like, you know, the straight up and down letters. But all the letters have this similar like structure that they’re made from. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">But it’s something you don’t need a fancy brush to do. You can do it with like one line or the spray paint or, you know, marker or something. And the thing has always been about, representing people that aren’t really seen and it’s like always been about that. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">It is kind of mind blowing to me that you said, all right, so writing in that like dignified kind of font, if you will, and how it comes from Old English by way of like governing forces. You mentioned like birth certificates, death certificates. And I know that there’s a stereotype around like that type of lettering that it comes from prisons as well, or that there’s, you know, like it’s related to, you know, kind of prison culture. But to say that like, ‘No, this is a way to dignify a people, you know, a group. Hell, whatever I’m writing, whatever word I’m putting in there,’ because I know in like yeah, I know in black culture as well there’s that Old English is definitely a form of tattooing styling that you put words or even commemorate a fallen friend in that font. Sorry, just had a lightbulb moment right there.\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\"> [laughs] \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Miguel’s a child of immigrants who raised him in the industrial bay side neighborhood of West Berkeley. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Miguel “Bounce” Perez: \u003c/b>\u003cspan style=\"font-weight: 400\">Kind of moved around Berkeley a lot. Mexican side was like more West Berkeley, my Filipino side was more technically in North Berkeley. We called it South Central Berkeley.\u003c/span>\u003c/p>\n\u003cp>Right, p\u003cspan style=\"font-weight: 400\">arents first came over. They both came when they were probably about 13, 12 ish. And they happened to both come to Hunter’s Point, there first, and then came to Berkeley around the sixties, something like that. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">How did they describe sixties West Berkeley, to you? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Miguel “Bounce” Perez: \u003c/b>\u003cspan style=\"font-weight: 400\">They never really explained too much about like old school Berkeley. They more… feel like they talk more about when they’re in high school and their partying. Kind of always about chillin’. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Miguel “Bounce” Perez: \u003c/b>\u003cspan style=\"font-weight: 400\">My parents met when they’re when they’re in high school and they’re in Berkeley High. Actually the story is my dad was working at a gas station right on what is like University and MLK or somewhere right there. And my mom was like walking from Berkeley High. And like she said that she saw him smoking a cigarette or somethin’, you know, smoking at the gas station. Some 70’s shi*t. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[laughs]\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> She came over and, you know, asked for a light and supposedly, like he lit her hair on fire like, well, he was. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">At the gas station? How dangerous is that? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Miguel “Bounce” Perez: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah, that’s the story I heard. I mean, my dad my dad was known for embellishing a little bit, so it could be made up, but it sounds pretty cool. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">T\u003c/span>\u003cspan style=\"font-weight: 400\">hey were part of a car club, right? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Miguel “Bounce” Perez: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah, it was called Pueblo Nuevo…Pueblo Nuevo de West Berkeley. My dad and my uncle from my mom’s side had started the car club. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">So how did, how did Berkeley, as a city, pour into your work as an artist? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Miguel “Bounce” Perez: \u003c/b>\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, the recycling mural that was on MLK. The apartment we lived on, it was on Bancroft and, like McKinley, literally a block below Berkeley High. I went \u003c/span>\u003cspan style=\"font-weight: 400\">from seeing all the Chicano styles that my family was doing and seeing the graff on the street and the murals, I think that definitely seeped its way in. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">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/p>\n\u003cp>\u003cb>Miguel “Bounce” Perez: \u003c/b>\u003cspan style=\"font-weight: 400\">T\u003c/span>\u003cspan style=\"font-weight: 400\">rust Your Struggle is like like, 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>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Miguel “Bounce” Perez: \u003c/b>\u003cspan style=\"font-weight: 400\">Some of the earlier things we were doing was these mural tours. You know, like the first one we went to is Mexico. We went started in Mexico and like worked our way down, like on bus all the way to Nicaragua. It is basically donated murals, you know, linked up with different organizations and painted. And I remember one of the last ones we did in 2009, went to the Philippines. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">We were meeting up with these orgs and stuff. Like this is the one we’d probably raised the most money for and put together. 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 sh*t. Like, they don’t need a mural. They need food. They need, like, some clothes.’ \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I think it made us think of different ways. it humbled us and you know, like you ain’t gonna save the world with a painting. Like, it might look pretty. But, you know, some of us have got more into, like, actual, like, legislation. Y’know, my boy Rob is, like, doing, like, children’s books, you know? \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I mean, I’m doing tattoos, which is just like not like a political thing, is a smaller scale, intimate thing, but the thing that’s cool about tattoos it’s always, like well not always, there’s definitely some people are not is getting it for the aesthetics but it’s like you know 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 them guide them through it. You know, if they don’t have, like, the exact idea what they want to do with it.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">That’s so tight, bro, like thinking about life in those transitional periods and like change is the only constant. But like 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, you know, construct the doorway. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Miguel “Bounce” Perez: \u003c/b>\u003cspan style=\"font-weight: 400\">Even sometimes I’m closing it, like, now, you know, don’t go through that door! \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">You’re right, right.\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\"> [laughs] \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Miguel “Bounce” Perez: \u003c/b>\u003cspan style=\"font-weight: 400\">I don’t know if you want that door. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\"> [laughs] \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Do you have any specifically that came from a point of transition in your life? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Miguel “Bounce” Perez: \u003c/b>\u003cspan style=\"font-weight: 400\">The first big ones I got were um, actually my dad had this rose of my mom’s name and I pretty much just tried to, when he passed away in 2009, I pretty much just did the exact same thing he had, on both arms. I mean, those are probably my most meaningful tattoos, maybe I would say. The other ones have been a little more loose. Like, like, ‘Okay, yeah, that looks cool. Let’s do it.’ \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">I definitely know people like, ‘Whatever, I’m in Vegas, time to get tattooed, I ain’t trippin’. But yeah, definitely. When I was younger, it was like, What’s my first tat going to be? Don’t do anything stupid, you know? I went with, you know, my aunt, my mom, my sister, family names, you know, that kind of thing. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Miguel “Bounce” Perez: \u003c/b>\u003cspan style=\"font-weight: 400\">You can’t go wrong with mom’s name, right? \u003cem>[laughs]\u003c/em> \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Right. And so when your mom saw your tattoo that you did in honor of your father, how did she react? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Miguel “Bounce” Perez: \u003c/b>\u003cspan style=\"font-weight: 400\">Um. I mean, I think it definitely. She was sad just because it reminded her of my dad. You know, I remember even. I mean, her saying one time she was like, ‘Damn, you got your dad’s hands. Like, especially with, like, the tattoo.’ Like the same thing.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Like, same placement. Yeah. She’s also proud too because she thinks she’s she’s really proud that I get to do what I love for a living, you know? I feel like it’s almost like that was the reason why they sacrificed to come to this country when they’re young so the kids can, like, do what the f*ck they want. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Miguel’s got a strong POV when it comes to his work, but he says he doesn’t stick to just one style. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Miguel “Bounce” Perez: \u003c/b>\u003cspan style=\"font-weight: 400\">Well, I think, like the big thing for me with tattooing is, you know, I’ve always been about collaboration in my paintings and painting with the crews has always been collaborative. But these like tattoos, it’s like a real collaboration, like because it’s like this is long term bonding. You’re making every time with somebody. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Miguel “Bounce” Perez: \u003c/b>\u003cspan style=\"font-weight: 400\">So I generally try to have it be about more about what they want, you know. I definitely will take, you know, my knowledge and expertise and try to, like, make sure it’s going to be something that’s going to look good years down the line, make that work with what they want, you know. And I think that’s kind of my specialty is like versatility. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">I’m sure you get a mixture of people coming in with different ideas for artwork that they want. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Miguel “Bounce” Perez: \u003c/b>\u003cspan style=\"font-weight: 400\">I remember we got this math club one time, which is funny is they all got like inner lip tattoos, but they all like, if you seen them, you know, you would never thought that they would have had tattoos. But I guess that’s why they went with the inner lip, because that’s like the most hidden places, you know? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Wait, hold on. Wait. A whole math club got the same inner lip tattoo? What did they get tattooed inside their lip? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Miguel “Bounce” Perez: \u003c/b>\u003cspan style=\"font-weight: 400\">They didn’t all get the same thing, but they all got the same place. I remember one of them, I think, said, ‘F*ck off,’ actually. It was funny, they’re all were ‘Yeah, we’re the math club. Yeah. This is our bonding experience.’ And we get that, you know, we get the range.You get that. But we still get, you know, dudes that are spending a lot of time in prison and, you know, want to like, finish off their prison style tattoo. Actually, I’ve actually done a lot of a couple of prison cover ups, too, like: ‘I got this in prison. Can you fix this for me?’ I’ve done a lot of those I feel like.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Do you feel like your work is a community service? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Miguel “Bounce” Perez: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah, I didn’t really think of it like that, but it really is, man. You know, just yesterday, my boy had a Raiders tattoo that, you know, the dude’s, the Raider face dude was like, was all smushed up. Like, you couldn’t see none of the features and \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">couldn’t read the letters and I just brought it back. That was like a service to him, making him feel better about hisself something It’s like a service. It is a really a service, you know. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">All right. So another comparison or just a question I’ve had… So in the graff world, you go from a tool like learning into scribbles, you know, tagging your name to doing bubble letters and working your way up to, you doing huge murals. Yeah is there a similar chain of command in the tattoo world? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Miguel “Bounce” Perez: \u003c/b>\u003cspan style=\"font-weight: 400\">It’s similar in that, um, you definitely got to, like, pay your dues you know to get, like, respected in the industry. You gotta like, you got to apprentice with somebody who’s already respected. Before like, recently the game has hella changed And a lot of a lot of those old-heads will say it’s f*cked up now because, you know, people are learning how to tattoo off of YouTube and sh*t where as even like ten years ago it’s like, literally like like damn near like a f*cking secret society that you had to like. claw and beg to get your way into it. Like a big thing with your apprenticeship is generally not paid. The Apprentice is the one that has to be there on time, has to spend the most hours. You know, has to do like the most like grunt work. And it’s like two years before you can even start to like pick up a machine or something. I mean, this is definitely more like the whole school classic way is definitely changing these last couple of years which. It’s all f*cked up now with social media. New tattooers would get like one famous client, and then all of a sudden they’re, you know, $2,000 an hour. Like damn, your work isn’t even that good. It’s like a big thing about tattooing is like, you don’t really know what you’re doing until you see, like, some sh*t you did like 15 years down the line, you know? \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Like it can be the prettiest, most detailed thing, but the real test is what’s it going to look like 15, 20 years later, you know? Is it going to stay? Is it going to – are the colors are going to hold up? Are your lines going to fade out. So I think definitely like the old school, the old school tattooers there, they’re definitely focused on that more, you know. So I mean, because even before I got into tattooing that traditional style that\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">they call it American Traditional, where it’s like. You know, like the real thick lines, kind of simpler drawings, like, you know, the classic images like the panther or, you know, the kind of like the pin-up style ladies and roses. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Like a kind of didn’t really feel. Before I really knew about tattooing. I didn’t really appreciate that stuff that much, you know. But then after I started doing it and really like, ‘Oh, there’s a reason why those lines are so thick,’, or there’s a reason why it’s so simple because, you know, they want, you know, they want this to look good in 15 years, you know. And this just a. And there’s a reason why they make it bold and simple. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Thank you Miguel Bounce Perez! So much game, thank you. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It’s wild to see the convergence of culture, community and environment– as well as family– all pour into the ways you express yourself artistically, both as a muralist and as a tattoo artist. Thanks for taking some time, and giving us a window into your world.\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">You can find \u003c/span>\u003cspan style=\"font-weight: 400\">Miguel’s\u003c/span>\u003cspan style=\"font-weight: 400\"> work on Instagram at \u003c/span>\u003ca href=\"https://www.instagram.com/misterbouncer/\">\u003cspan style=\"font-weight: 400\">misterbouncer\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">.\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\nThis episode was hosted by me, Pendarvis Harshaw. Marisol Medina-Cadena, Kyanna Moghadam and C\u003c/span>\u003cspan style=\"font-weight: 400\">orey Antonio Rose produced \u003c/span>\u003cspan style=\"font-weight: 400\">this episode. Jen Chien and Chris Hambrick edited this episode. Ceil Muller and Christopher Beale engineered this joint. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The Rightnowish team is also supported by Ugur Dursun, Holly Kernan, Cesar Saldaña, and Katie Sprenger. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Until next time, y’all take care! Peace.\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">Rightnowish is a KQED production.\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\">\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>\n\u003cp>\u003c/p>\n\u003c/div>"
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game and Brown has some lessons he'd like to share. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"pri-the-world": {
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"radiolab": {
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},
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"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"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.",
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},
"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
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