window.__IS_SSR__=true
window.__INITIAL_STATE__={
"attachmentsReducer": {
"audio_0": {
"type": "attachments",
"id": "audio_0",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background0.jpg"
}
}
},
"audio_1": {
"type": "attachments",
"id": "audio_1",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background1.jpg"
}
}
},
"audio_2": {
"type": "attachments",
"id": "audio_2",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background2.jpg"
}
}
},
"audio_3": {
"type": "attachments",
"id": "audio_3",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background3.jpg"
}
}
},
"audio_4": {
"type": "attachments",
"id": "audio_4",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background4.jpg"
}
}
},
"placeholder": {
"type": "attachments",
"id": "placeholder",
"imgSizes": {
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-160x107.jpg",
"width": 160,
"height": 107,
"mimeType": "image/jpeg"
},
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-800x533.jpg",
"width": 800,
"height": 533,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-768x512.jpg",
"width": 768,
"height": 512,
"mimeType": "image/jpeg"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1020x680.jpg",
"width": 1020,
"height": 680,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1536x1024.jpg",
"width": 1536,
"height": 1024,
"mimeType": "image/jpeg"
},
"fd-lrg": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1536x1024.jpg",
"width": 1536,
"height": 1024,
"mimeType": "image/jpeg"
},
"fd-med": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1020x680.jpg",
"width": 1020,
"height": 680,
"mimeType": "image/jpeg"
},
"fd-sm": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-800x533.jpg",
"width": 800,
"height": 533,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"xxsmall": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-160x107.jpg",
"width": 160,
"height": 107,
"mimeType": "image/jpeg"
},
"xsmall": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"small": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"xlarge": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1020x680.jpg",
"width": 1020,
"height": 680,
"mimeType": "image/jpeg"
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1920x1280.jpg",
"width": 1920,
"height": 1280,
"mimeType": "image/jpeg"
},
"guest-author-32": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 32,
"height": 32,
"mimeType": "image/jpeg"
},
"guest-author-50": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 50,
"height": 50,
"mimeType": "image/jpeg"
},
"guest-author-64": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 64,
"height": 64,
"mimeType": "image/jpeg"
},
"guest-author-96": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 96,
"height": 96,
"mimeType": "image/jpeg"
},
"guest-author-128": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 128,
"height": 128,
"mimeType": "image/jpeg"
},
"detail": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 160,
"height": 160,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1.jpg",
"width": 2000,
"height": 1333
}
}
},
"arts_13981230": {
"type": "attachments",
"id": "arts_13981230",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13981230",
"found": true
},
"title": "ocic_jeepeezee_final-116-crop",
"publishDate": 1757455463,
"status": "inherit",
"parent": 13981218,
"modified": 1757455509,
"caption": "A street vendor at the 2024 inaugural Oakland Chinatown Night Market. This year's edition will feature more food vendors from within the neighborhood. ",
"credit": "Gianpaolo Pabros, courtesy of OCIC",
"altTag": null,
"description": null,
"imgSizes": {
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/ocic_jeepeezee_final-116-crop-160x110.jpg",
"width": 160,
"height": 110,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/ocic_jeepeezee_final-116-crop-768x528.jpg",
"width": 768,
"height": 528,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/ocic_jeepeezee_final-116-crop-1536x1056.jpg",
"width": 1536,
"height": 1056,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/ocic_jeepeezee_final-116-crop-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/ocic_jeepeezee_final-116-crop-1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/ocic_jeepeezee_final-116-crop.jpg",
"width": 2000,
"height": 1375
}
},
"isLoading": false,
"fetchFailed": false
},
"arts_13993642": {
"type": "attachments",
"id": "arts_13993642",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13993642",
"found": true
},
"title": "Berkeley---Daniel-Parks---First-Church---8525223255_1dd9fcc811_2000",
"publishDate": 1788558320,
"status": "inherit",
"parent": 0,
"modified": 1788558886,
"caption": "First Church of Christ, Scientist in Berkeley will be part of Doors Open California Sept. 5–6, 2026.",
"credit": "Courtesy Friends of First Church Berkeley",
"altTag": "craftsman interior of church with pews and ornate wood ceiling",
"description": null,
"imgSizes": {
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Berkeley-Daniel-Parks-First-Church-8525223255_1dd9fcc811_2000-160x110.jpg",
"width": 160,
"height": 110,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Berkeley-Daniel-Parks-First-Church-8525223255_1dd9fcc811_2000-768x527.jpg",
"width": 768,
"height": 527,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Berkeley-Daniel-Parks-First-Church-8525223255_1dd9fcc811_2000-1536x1054.jpg",
"width": 1536,
"height": 1054,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Berkeley-Daniel-Parks-First-Church-8525223255_1dd9fcc811_2000-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Berkeley-Daniel-Parks-First-Church-8525223255_1dd9fcc811_2000-1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"npr-cds-wide": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Berkeley-Daniel-Parks-First-Church-8525223255_1dd9fcc811_2000-1200x675.jpg",
"width": 1200,
"height": 675,
"mimeType": "image/jpeg"
},
"npr-cds-square": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Berkeley-Daniel-Parks-First-Church-8525223255_1dd9fcc811_2000-600x600.jpg",
"width": 600,
"height": 600,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Berkeley-Daniel-Parks-First-Church-8525223255_1dd9fcc811_2000.jpg",
"width": 2000,
"height": 1373
}
},
"isLoading": false,
"fetchFailed": false
},
"arts_13979955": {
"type": "attachments",
"id": "arts_13979955",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13979955",
"found": true
},
"title": "Letitia Morris-Ward at her home in Richmond on Aug. 12, 2025.",
"publishDate": 1755005880,
"status": "inherit",
"parent": 0,
"modified": 1755501903,
"caption": "Letitia Morris-Ward at her home in Hayward on Aug. 12, 2025.",
"credit": "Martin do Nascimento/KQED",
"altTag": null,
"description": null,
"imgSizes": {
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/250811-POOSIE-HURRICANE-KATRINA-MD-01-KQED-160x107.jpg",
"width": 160,
"height": 107,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/250811-POOSIE-HURRICANE-KATRINA-MD-01-KQED-768x512.jpg",
"width": 768,
"height": 512,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/250811-POOSIE-HURRICANE-KATRINA-MD-01-KQED-1536x1025.jpg",
"width": 1536,
"height": 1025,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/250811-POOSIE-HURRICANE-KATRINA-MD-01-KQED-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/250811-POOSIE-HURRICANE-KATRINA-MD-01-KQED-1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/250811-POOSIE-HURRICANE-KATRINA-MD-01-KQED.jpg",
"width": 2000,
"height": 1334
}
},
"isLoading": false,
"fetchFailed": false
},
"arts_13980761": {
"type": "attachments",
"id": "arts_13980761",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13980761",
"found": true
},
"title": "D2Ccover_final---Photo-Credit_-Katia-Temkin",
"publishDate": 1756395857,
"status": "inherit",
"parent": 13980760,
"modified": 1756395988,
"caption": "Ariana Grande has announced two tour kickoff shows in Oakland, on June 6 and 9, 2026. ",
"credit": "Katia Tempkin",
"altTag": "a young woman holds her hand before her face in the dark with a light blue spotlight across her eyes",
"description": null,
"imgSizes": {
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/D2Ccover_final-Photo-Credit_-Katia-Temkin-160x90.jpg",
"width": 160,
"height": 90,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/D2Ccover_final-Photo-Credit_-Katia-Temkin-768x432.jpg",
"width": 768,
"height": 432,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/D2Ccover_final-Photo-Credit_-Katia-Temkin-1536x864.jpg",
"width": 1536,
"height": 864,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/D2Ccover_final-Photo-Credit_-Katia-Temkin-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/D2Ccover_final-Photo-Credit_-Katia-Temkin-1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/D2Ccover_final-Photo-Credit_-Katia-Temkin.jpg",
"width": 2000,
"height": 1125
}
},
"isLoading": false,
"fetchFailed": false
},
"arts_13980526": {
"type": "attachments",
"id": "arts_13980526",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13980526",
"found": true
},
"title": "Locks",
"publishDate": 1755808682,
"status": "inherit",
"parent": 13980452,
"modified": 1755808773,
"caption": "A moment from Ryan Coogler’s 2009 short film, ‘Locks.’",
"credit": null,
"altTag": "A young Black man with shoulder length dreadlocks stands in the street, looking concerned. He is wearing a grey hoodie.",
"description": null,
"imgSizes": {
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Locks-160x93.png",
"width": 160,
"height": 93,
"mimeType": "image/png"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Locks-768x447.png",
"width": 768,
"height": 447,
"mimeType": "image/png"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Locks-1536x893.png",
"width": 1536,
"height": 893,
"mimeType": "image/png"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Locks-672x372.png",
"width": 672,
"height": 372,
"mimeType": "image/png"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Locks-1038x576.png",
"width": 1038,
"height": 576,
"mimeType": "image/png"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Locks.png",
"width": 2000,
"height": 1163
}
},
"isLoading": false,
"fetchFailed": false
},
"arts_13980422": {
"type": "attachments",
"id": "arts_13980422",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13980422",
"found": true
},
"title": "OAKDiadelosMuertosFestival_EG-16x9",
"publishDate": 1755706254,
"status": "inherit",
"parent": 13980403,
"modified": 1755706339,
"caption": "Sirena Covarrubias attends the Oakland Día de los Muertos Festival in Fruitvale on Sunday, Oct. 29, 2023.",
"credit": "Estefany Gonzalez for KQED",
"altTag": null,
"description": null,
"imgSizes": {
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/OAKDiadelosMuertosFestival_EG-16x9-1-160x90.jpg",
"width": 160,
"height": 90,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/OAKDiadelosMuertosFestival_EG-16x9-1-768x432.jpg",
"width": 768,
"height": 432,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/OAKDiadelosMuertosFestival_EG-16x9-1-1536x864.jpg",
"width": 1536,
"height": 864,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/OAKDiadelosMuertosFestival_EG-16x9-1-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/OAKDiadelosMuertosFestival_EG-16x9-1-1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/OAKDiadelosMuertosFestival_EG-16x9-1.jpg",
"width": 1920,
"height": 1080
}
},
"isLoading": false,
"fetchFailed": false
},
"arts_13979703": {
"type": "attachments",
"id": "arts_13979703",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13979703",
"found": true
},
"title": "The Worst Film Fest founding team",
"publishDate": 1754609029,
"status": "inherit",
"parent": 13979695,
"modified": 1754937787,
"caption": "Keren Southall, Danielle CheIfetz and Cheryl Isaacson pose for a photo at 'The Worst Film Fest' inaugural event in 2024. ",
"credit": "Maurice Ramirez",
"altTag": "Three women stand next to each other, locked arms, posing for a photo.",
"description": null,
"imgSizes": {
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Copy-of-20240829-TheWorstFilmFestival-mrz-212-2000x1333.jpg",
"width": 2000,
"height": 1333,
"mimeType": "image/jpeg"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Copy-of-20240829-TheWorstFilmFestival-mrz-212-2000x1333.jpg",
"width": 2000,
"height": 1333,
"mimeType": "image/jpeg"
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Copy-of-20240829-TheWorstFilmFestival-mrz-212-160x107.jpg",
"width": 160,
"height": 107,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Copy-of-20240829-TheWorstFilmFestival-mrz-212-768x512.jpg",
"width": 768,
"height": 512,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Copy-of-20240829-TheWorstFilmFestival-mrz-212-1536x1024.jpg",
"width": 1536,
"height": 1024,
"mimeType": "image/jpeg"
},
"2048x2048": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Copy-of-20240829-TheWorstFilmFestival-mrz-212-2048x1365.jpg",
"width": 2048,
"height": 1365,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Copy-of-20240829-TheWorstFilmFestival-mrz-212-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Copy-of-20240829-TheWorstFilmFestival-mrz-212-1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Copy-of-20240829-TheWorstFilmFestival-mrz-212-2000x1333.jpg",
"width": 2000,
"height": 1333,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Copy-of-20240829-TheWorstFilmFestival-mrz-212-scaled.jpg",
"width": 2560,
"height": 1707
}
},
"isLoading": false,
"fetchFailed": false
},
"arts_13979537": {
"type": "attachments",
"id": "arts_13979537",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13979537",
"found": true
},
"title": "250720-DEAFDANCEFESTIVAL_01569_TV-KQED",
"publishDate": 1754411322,
"status": "inherit",
"parent": 0,
"modified": 1754504576,
"caption": "Jerald Appling (right) smiles at rehearsal at Shawl-Anderson Dance Center in Berkeley on July 20, 2025. The Urban Jazz Dance Company will perform at the International Deaf Dance Festival, running Aug. 8–10 in San Francisco.",
"credit": "Tâm Vũ/KQED",
"altTag": "A Black man in black tank top and white shorts dances in a rehearsal space with white walls and white ceiling, as other dancers move in the background.",
"description": null,
"imgSizes": {
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/250720-DEAFDANCEFESTIVAL_01569_TV-KQED-160x107.jpg",
"width": 160,
"height": 107,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/250720-DEAFDANCEFESTIVAL_01569_TV-KQED-768x512.jpg",
"width": 768,
"height": 512,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/250720-DEAFDANCEFESTIVAL_01569_TV-KQED-1536x1024.jpg",
"width": 1536,
"height": 1024,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/250720-DEAFDANCEFESTIVAL_01569_TV-KQED-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/250720-DEAFDANCEFESTIVAL_01569_TV-KQED-1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/250720-DEAFDANCEFESTIVAL_01569_TV-KQED.jpg",
"width": 2000,
"height": 1333
}
},
"isLoading": false,
"fetchFailed": false
},
"arts_13979402": {
"type": "attachments",
"id": "arts_13979402",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13979402",
"found": true
},
"title": "Anticon.Lead",
"publishDate": 1753989530,
"status": "inherit",
"parent": 13979349,
"modified": 1753996067,
"caption": "The dizzying Bay Area hip-hop collective Anticon forced listeners in the Y2K era to hear differently, even within a burgeoning ‘indie rap’ scene. Its many artists and groups included Subtle, pictured, with Doseone and Dax Pierson at front. ",
"credit": "Courtesy Doseone",
"altTag": null,
"description": null,
"imgSizes": {
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Anticon.Lead_-160x160.jpg",
"width": 160,
"height": 160,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Anticon.Lead_-768x768.jpg",
"width": 768,
"height": 768,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Anticon.Lead_-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Anticon.Lead_-800x576.jpg",
"width": 800,
"height": 576,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Anticon.Lead_.jpg",
"width": 800,
"height": 800
}
},
"isLoading": false,
"fetchFailed": false
},
"arts_13979384": {
"type": "attachments",
"id": "arts_13979384",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13979384",
"found": true
},
"title": "ethiopian awaze tibs",
"publishDate": 1753985833,
"status": "inherit",
"parent": 13979378,
"modified": 1753987982,
"caption": "Café Colucci's awaze tibs will be one of the featured dishes at the 2025 edition of BBQ Without Borders, an immigrant-focused food fundraiser held at the Oakland Museum of California on Sat., Aug. 2.",
"credit": "Carl Molina, courtesy of No Immigrants, No Spice",
"altTag": "Saucy beef skewers garnished with rosemary",
"description": null,
"imgSizes": {
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/ethiopian-awaze-tibs-160x90.jpg",
"width": 160,
"height": 90,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/ethiopian-awaze-tibs-768x432.jpg",
"width": 768,
"height": 432,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/ethiopian-awaze-tibs-1536x864.jpg",
"width": 1536,
"height": 864,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/ethiopian-awaze-tibs-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/ethiopian-awaze-tibs-1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/ethiopian-awaze-tibs.jpg",
"width": 2000,
"height": 1125
}
},
"isLoading": false,
"fetchFailed": false
},
"arts_13979153": {
"type": "attachments",
"id": "arts_13979153",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13979153",
"found": true
},
"title": "jwalt-cropped",
"publishDate": 1753380789,
"status": "inherit",
"parent": 13979065,
"modified": 1753380800,
"caption": "Jwalt. ",
"credit": "Squint",
"altTag": null,
"description": null,
"imgSizes": {
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/jwalt-cropped-160x90.jpg",
"width": 160,
"height": 90,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/jwalt-cropped-768x432.jpg",
"width": 768,
"height": 432,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/jwalt-cropped-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/jwalt-cropped-1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/jwalt-cropped.jpg",
"width": 1400,
"height": 788
}
},
"isLoading": false,
"fetchFailed": false
},
"arts_13978953": {
"type": "attachments",
"id": "arts_13978953",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13978953",
"found": true
},
"title": "OMCA.BlackSpaces.MAIN",
"publishDate": 1752864069,
"status": "inherit",
"parent": 13978938,
"modified": 1752864193,
"caption": "Michelle Vignes, ‘Kenny Playing Sax at the\nDe Luxe Inn in Oakland,’ 1983.",
"credit": "Michelle Vignes / Bancroft Library, UC Berkeley",
"altTag": "A Black man with his eyes closed plays a saxophone in a dark nightclub while another man sits in a booth nearby, smiling",
"description": null,
"imgSizes": {
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/OMCA.BlackSpaces.MAIN_-160x90.jpg",
"width": 160,
"height": 90,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/OMCA.BlackSpaces.MAIN_-768x432.jpg",
"width": 768,
"height": 432,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/OMCA.BlackSpaces.MAIN_-1536x864.jpg",
"width": 1536,
"height": 864,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/OMCA.BlackSpaces.MAIN_-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/OMCA.BlackSpaces.MAIN_-1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/OMCA.BlackSpaces.MAIN_.jpg",
"width": 2000,
"height": 1125
}
},
"isLoading": false,
"fetchFailed": false
}
},
"audioPlayerReducer": {
"postId": "stream_live",
"isPaused": true,
"isPlaying": false,
"pfsActive": false,
"pledgeModalIsOpen": true,
"playerDrawerIsOpen": false,
"liveAudioPlayStartedAt": 0,
"liveAudioPlayContext": ""
},
"authorsReducer": {
"byline_arts_13979516": {
"type": "authors",
"id": "byline_arts_13979516",
"meta": {
"override": true
},
"slug": "byline_arts_13979516",
"name": "Ashwini Gangal",
"isLoading": false
},
"shotchkiss": {
"type": "authors",
"id": "61",
"meta": {
"index": "authors_1716337520",
"id": "61",
"found": true
},
"name": "Sarah Hotchkiss",
"firstName": "Sarah",
"lastName": "Hotchkiss",
"slug": "shotchkiss",
"email": "shotchkiss@kqed.org",
"display_author_email": true,
"staff_mastheads": [
"arts"
],
"title": "Senior Editor",
"bio": "Sarah Hotchkiss is a San Francisco \u003ca href=\"http://www.sarahhotchkiss.com\">artist\u003c/a> and arts writer. In 2019, she received the Dorothea & Leo Rabkin Foundation grant for visual art journalism and in 2020 she received a Society of Professional Journalists, Northern California award for excellence in arts and culture reporting.",
"avatar": "https://secure.gravatar.com/avatar/bc662df144b3d27fd8b1b6f1c2a420d34e91e53154d411bb7ad353cc8b6cea8d?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "",
"roles": [
"editor"
]
},
{
"site": "arts",
"roles": [
"Contributor",
"administrator"
]
},
{
"site": "artschool",
"roles": [
"administrator"
]
},
{
"site": "news",
"roles": [
"editor"
]
},
{
"site": "pop",
"roles": [
"administrator"
]
},
{
"site": "bayareabites",
"roles": [
"editor"
]
},
{
"site": "spark",
"roles": [
"editor"
]
},
{
"site": "checkplease",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Sarah Hotchkiss | KQED",
"description": "Senior Editor",
"ogImgSrc": "https://secure.gravatar.com/avatar/bc662df144b3d27fd8b1b6f1c2a420d34e91e53154d411bb7ad353cc8b6cea8d?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/bc662df144b3d27fd8b1b6f1c2a420d34e91e53154d411bb7ad353cc8b6cea8d?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/shotchkiss"
},
"gmeline": {
"type": "authors",
"id": "185",
"meta": {
"index": "authors_1716337520",
"id": "185",
"found": true
},
"name": "Gabe Meline",
"firstName": "Gabe",
"lastName": "Meline",
"slug": "gmeline",
"email": "gmeline@kqed.org",
"display_author_email": true,
"staff_mastheads": [
"arts"
],
"title": "Senior Editor, KQED Arts & Culture",
"bio": "Gabe Meline entered journalism at age 15 making photocopied zines, and has since earned awards from the Edward R. Murrow Awards, the Society for Professional Journalists, the Online Journalism Awards, the Association of Alternative Newsweeklies and the California Newspaper Publishers Association. Prior to KQED, he was the editor of the \u003cem>North Bay Bohemian\u003c/em> and a touring musician. He lives with his wife and daughter in his hometown of Santa Rosa, CA.",
"avatar": "https://secure.gravatar.com/avatar/5bebe57be0d8bc2dd318934feb47299e2d2d10cba28d09d8d7afb389a2ce2bdd?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "",
"roles": [
"editor"
]
},
{
"site": "arts",
"roles": [
"administrator"
]
},
{
"site": "artschool",
"roles": [
"editor"
]
},
{
"site": "news",
"roles": [
"author"
]
},
{
"site": "pop",
"roles": [
"editor"
]
},
{
"site": "bayareabites",
"roles": [
"editor"
]
},
{
"site": "food",
"roles": [
"editor"
]
},
{
"site": "forum",
"roles": [
"administrator"
]
},
{
"site": "liveblog",
"roles": [
"editor"
]
},
{
"site": "hiphop",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Gabe Meline | KQED",
"description": "Senior Editor, KQED Arts & Culture",
"ogImgSrc": "https://secure.gravatar.com/avatar/5bebe57be0d8bc2dd318934feb47299e2d2d10cba28d09d8d7afb389a2ce2bdd?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/5bebe57be0d8bc2dd318934feb47299e2d2d10cba28d09d8d7afb389a2ce2bdd?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/gmeline"
},
"ralexandra": {
"type": "authors",
"id": "11242",
"meta": {
"index": "authors_1716337520",
"id": "11242",
"found": true
},
"name": "Rae Alexandra",
"firstName": "Rae",
"lastName": "Alexandra",
"slug": "ralexandra",
"email": "ralexandra@kqed.org",
"display_author_email": true,
"staff_mastheads": [],
"title": "Reporter/Producer",
"bio": "Rae Alexandra is a Reporter/Producer for KQED Arts & Culture, and the creator/author of the \u003ca href=\"https://www.kqed.org/arts/program/rebel-girls-from-bay-area-history\">Rebel Girls From Bay Area History\u003c/a> and \u003ca href=\"https://www.kqed.org/bizarrebayarea\">Bizarre Bay Area\u003c/a> series. Her debut book, \u003ca href=\"https://citylights.com/politics-current-events-history/unsung-heroines35-women-who-changed/\">Unsung Heroines: 35 Women Who Changed the Bay Area\u003c/a> was published by City Lights in March 2026. In 2023, Rae was awarded an SPJ Excellence in Journalism Award for Arts & Culture. Rae was born and raised in Wales and subsequently — even after two decades in Northern California — still uses phrases that regularly baffle her coworkers.",
"avatar": "https://secure.gravatar.com/avatar/edfee8176c80cc0a382b051190f5341997df378a934a5774dcb0977732dfd401?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"subscriber"
]
},
{
"site": "news",
"roles": [
"subscriber"
]
},
{
"site": "pop",
"roles": [
"subscriber"
]
},
{
"site": "bayareabites",
"roles": [
"subscriber"
]
},
{
"site": "science",
"roles": [
"subscriber"
]
}
],
"headData": {
"title": "Rae Alexandra | KQED",
"description": "Reporter/Producer",
"ogImgSrc": "https://secure.gravatar.com/avatar/edfee8176c80cc0a382b051190f5341997df378a934a5774dcb0977732dfd401?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/edfee8176c80cc0a382b051190f5341997df378a934a5774dcb0977732dfd401?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/ralexandra"
},
"ogpenn": {
"type": "authors",
"id": "11491",
"meta": {
"index": "authors_1716337520",
"id": "11491",
"found": true
},
"name": "Pendarvis Harshaw",
"firstName": "Pendarvis",
"lastName": "Harshaw",
"slug": "ogpenn",
"email": "ogpenn@gmail.com",
"display_author_email": false,
"staff_mastheads": [
"arts"
],
"title": "Community Engagement Reporter",
"bio": "Pendarvis Harshaw is an educator, host and writer with KQED Arts.",
"avatar": "https://secure.gravatar.com/avatar/972b77ee8e3f346ae2b00622661187fbfabd059b5693bbdc1475ea7a722fd4cd?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": "ogpenn",
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"administrator"
]
},
{
"site": "news",
"roles": [
"editor"
]
},
{
"site": "bayareabites",
"roles": [
"author"
]
},
{
"site": "hiphop",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Pendarvis Harshaw | KQED",
"description": "Community Engagement Reporter",
"ogImgSrc": "https://secure.gravatar.com/avatar/972b77ee8e3f346ae2b00622661187fbfabd059b5693bbdc1475ea7a722fd4cd?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/972b77ee8e3f346ae2b00622661187fbfabd059b5693bbdc1475ea7a722fd4cd?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/ogpenn"
},
"ltsai": {
"type": "authors",
"id": "11743",
"meta": {
"index": "authors_1716337520",
"id": "11743",
"found": true
},
"name": "Luke Tsai",
"firstName": "Luke",
"lastName": "Tsai",
"slug": "ltsai",
"email": "ltsai@kqed.org",
"display_author_email": true,
"staff_mastheads": [
"arts"
],
"title": "Food Editor",
"bio": "Luke Tsai is KQED's food editor and resident stinky tofu connoisseur. Prior to KQED, he was an editor at Eater SF, \u003cem>San Francisco \u003c/em>magazine, and the \u003cem>East Bay Express\u003c/em>, and his work has also appeared in TASTE, the \u003cem>San Francisco Chronicle\u003c/em>, and the \u003cem>Best Food Writing\u003c/em> anthology. When he isn't writing or editing, you'll find him eating most everything he can get his hands on.",
"avatar": "https://secure.gravatar.com/avatar/1e59b45bf191526e7339d6ba46e33a57b2030d25c27660ecc64ea3cb863e34f7?s=600&d=blank&r=g",
"twitter": "theluketsai",
"bluesky": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "",
"roles": [
"editor"
]
},
{
"site": "arts",
"roles": [
"administrator"
]
},
{
"site": "news",
"roles": [
"editor",
"contributor"
]
},
{
"site": "bayareabites",
"roles": [
"editor"
]
},
{
"site": "food",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Luke Tsai | KQED",
"description": "Food Editor",
"ogImgSrc": "https://secure.gravatar.com/avatar/1e59b45bf191526e7339d6ba46e33a57b2030d25c27660ecc64ea3cb863e34f7?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/1e59b45bf191526e7339d6ba46e33a57b2030d25c27660ecc64ea3cb863e34f7?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/ltsai"
},
"mreeves": {
"type": "authors",
"id": "11855",
"meta": {
"index": "authors_1716337520",
"id": "11855",
"found": true
},
"name": "Mosi Reeves",
"firstName": "Mosi",
"lastName": "Reeves",
"slug": "mreeves",
"email": "infamous30@gmail.com",
"display_author_email": false,
"staff_mastheads": [],
"title": "KQED Contributor",
"bio": "Mosi Reeves is a journalist and cultural critic based in Oakland, California. In addition to KQED, his work has appeared in \u003cem>Rolling Stone\u003c/em>, \u003cem>The Wire\u003c/em>, Pitchfork, \u003cem>Billboard\u003c/em>, and Grammy.com.",
"avatar": "https://secure.gravatar.com/avatar/6f376003ca1cf7a873edc107f5f331f1?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"contributor"
]
},
{
"site": "pop",
"roles": [
"contributor"
]
}
],
"headData": {
"title": "Mosi Reeves | KQED",
"description": "KQED Contributor",
"ogImgSrc": "https://secure.gravatar.com/avatar/6f376003ca1cf7a873edc107f5f331f1?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/6f376003ca1cf7a873edc107f5f331f1?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/mreeves"
},
"mmitchell": {
"type": "authors",
"id": "12012",
"meta": {
"index": "authors_1716337520",
"id": "12012",
"found": true
},
"name": "Meaghan Mitchell",
"firstName": "Meaghan",
"lastName": "Mitchell",
"slug": "mmitchell",
"email": "meaghanmitchell@gmail.com",
"display_author_email": false,
"staff_mastheads": [],
"title": "KQED Contributor",
"bio": null,
"avatar": "https://secure.gravatar.com/avatar/f5382d86673790e07dd22c71f8411f7ee82a8c4cd863732b646b3fc5cbb5894d?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"contributor"
]
}
],
"headData": {
"title": "Meaghan Mitchell | KQED",
"description": "KQED Contributor",
"ogImgSrc": "https://secure.gravatar.com/avatar/f5382d86673790e07dd22c71f8411f7ee82a8c4cd863732b646b3fc5cbb5894d?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/f5382d86673790e07dd22c71f8411f7ee82a8c4cd863732b646b3fc5cbb5894d?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/mmitchell"
}
},
"pagesReducer": {
"arts_tag_oakland": {
"type": "terms",
"id": "arts_1143",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1143",
"score": 6.870714
},
"featImg": null,
"name": "Oakland",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Oakland Archives | KQED Arts",
"ogDescription": null
},
"ttid": 692,
"slug": "oakland",
"isLoading": false,
"title": "Oakland",
"pageMeta": {
"site": "arts",
"WpPageTemplate": "page-topic-editorial",
"currentPage": 11
},
"blocks": [
{
"blockName": "kqed/post-list",
"attrs": {
"layout": "cardArticle2",
"query": "posts/arts?tag=oakland",
"seeMore": false,
"paginated": true,
"page": 11
}
},
{
"blockName": "kqed/ad"
}
]
}
},
"pfsSessionReducer": {},
"postsReducer": {
"stream_live": {
"type": "live",
"id": "stream_live",
"audioUrl": "https://hls.kqed.org/hls/kqed_app/playlist.m3u8",
"title": "Live Stream",
"excerpt": "Live Stream information currently unavailable.",
"link": "/radio",
"featImg": "",
"label": {
"name": "KQED Live",
"link": "/"
}
},
"stream_kqedNewscast": {
"type": "posts",
"id": "stream_kqedNewscast",
"audioUrl": "https://www.kqed.org/.stream/anon/radio/RDnews/newscast.mp3?_=1",
"title": "KQED Newscast",
"featImg": "",
"label": {
"name": "88.5 FM",
"link": "/"
}
},
"arts_13981218": {
"type": "posts",
"id": "arts_13981218",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13981218",
"score": null,
"sort": [
1757455949000
]
},
"guestAuthors": [],
"slug": "oakland-chinatown-night-market-2025-food-basketball-tournament-new-gold-medal",
"title": "This Year’s Oakland Chinatown Night Market Will Be Even Bigger",
"publishDate": 1757455949,
"format": "standard",
"headTitle": "This Year’s Oakland Chinatown Night Market Will Be Even Bigger | KQED",
"labelTerm": {},
"content": "\u003cp>Before last year’s inaugural Oakland Chinatown Night Market, community leaders had long dreamed of hosting a big, rollicking night market event — the sort of outdoor bash you’ll find in cities across Asia. Oakland Chinatown Improvement Council (OCIC) Executive Director Tony Trinh says the hardest part was getting the \u003ca href=\"https://www.kqed.org/arts/tag/chinatown\">Chinatown\u003c/a> shopkeepers and restaurant owners themselves to believe such a thing was possible.\u003c/p>\n\u003cp>“A lot of the merchants were very doubtful that we could pull off an event like that. Historically, Chinatown is a ghost town by like four o’clock,” Trinh says. When \u003ca href=\"https://www.kqed.org/arts/13892437/oaklanders-combat-chinatown-attacks-with-volunteering-mutual-aid\">fears of anti-Asian violence surged\u003c/a> during the COVID era, he explains, “Everybody was just too afraid to be out here.” As a result, only a couple of Chinatown restaurants set up booths at last year’s market. Most of the food vendors wound up coming from outside the neighborhood.\u003c/p>\n\u003cp>In that sense, the inaugural event was a proof of concept — a test to see if Oakland Chinatown actually \u003ci>could \u003c/i>host a bustling night market. And it proved to be even more successful than Trinh and his team had dared to hope: 14,000 people poured into the streets of Chinatown on a Saturday night. Food vendors were completely sold out by 8 p.m. Even the restaurants that chose not to actively participate still benefited, reporting a 200% increase in revenue that night, Trinh says.\u003c/p>\n\u003cfigure id=\"attachment_13981226\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981226\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/ocic_jeepeezee_final-150.jpg\" alt=\"A crowd of people eating at outdoors tables in Chinatown at nighttime.\" width=\"2000\" height=\"1600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/ocic_jeepeezee_final-150.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/ocic_jeepeezee_final-150-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/ocic_jeepeezee_final-150-768x614.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/ocic_jeepeezee_final-150-1536x1229.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">About 14,000 people came to the 2024 night market, according to the Oakland Chinatown Improvement Council. \u003ccite>(Gianpaolo Pabros, courtesy of OCIC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s with bolstered confidence, then, that OCIC is running the event back this year. The \u003ca href=\"https://www.ocic-ca.org/2025-night-market\">second annual Oakland Chinatown Night Market\u003c/a> will take place this Saturday, Sept. 13, 5–10 p.m., bringing the neighborhood to life with a mix of street food, antique trinkets, sports and live music — this time with much more robust participation from businesses within Chinatown.\u003c/p>\n\u003cp>“Now the food vendors believe in us,” Trinh says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Part of what that means is that many more restaurants will set up booths selling street food in front of their shops, including neighborhood staples like Alice Bakery and Shooting Star Cafe. Though one of last year’s core vendors, \u003ca href=\"https://www.kqed.org/arts/13956218/late-night-taiwanese-beef-noodle-soup-stinky-tofu-oakland-chinatown\">Lounge Chinatown\u003c/a>, has since closed, its Jack London sister restaurant, \u003ca href=\"https://www.kqed.org/arts/13918993/dragon-gate-oakland-taiwanese-restaurant-reopening-karaoke\">Dragon Gate\u003c/a>, will also have a booth.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[aside postID='arts_13963258,arts_13974383']\u003c/span>This year’s featured food theme will be a “Taste of Chinatown,” highlighting the kind of classic dishes that are most emblematic of the neighborhood: chicken wings and spring rolls from New Gold Medal, the \u003ca href=\"https://www.kqed.org/arts/13974383/oakland-chinatown-new-gold-medal-late-night\">legendary late-night spot\u003c/a>, and a roast duck rice plate from newcomer Hay Yue. Both of those plates will be available at OCIC’s own booth at the market.\u003c/p>\n\u003cp>All told, there will be more than 20 food vendors. The layout of the event will be inspired by Hong Kong’s traditional night markets, with a mix of food and retail, including Chinese antique vendors from the Laney College Flea Market.\u003c/p>\n\u003cfigure id=\"attachment_13981229\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981229\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/ocic_jeepeezee_final-131.jpg\" alt=\"A rapper viewed from behind as he performs in front of a large crowd in the streets of Oakland.\" width=\"2000\" height=\"1600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/ocic_jeepeezee_final-131.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/ocic_jeepeezee_final-131-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/ocic_jeepeezee_final-131-768x614.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/ocic_jeepeezee_final-131-1536x1229.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Oakland rapper Seiji Oda performing at the 2024 Oakland Chinatown Night Market. \u003ccite>(Gianpaolo Pabros, courtesy of OCIC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This year’s night market will also have a car show, curated by Castro Valley’s \u003ca href=\"https://www.instagram.com/nakayamamotorsports/?hl=en\">Nakayama Motorsports\u003c/a>. And it will bring back the most popular elements from last year’s event, including a performance stage featuring live music and DJs. This year’s featured artists will include Oakland’s own “\u003ca href=\"https://www.kqed.org/arts/13957194/seiji-oda-bay-area-rap-lo-fi-minimalist-hyphy\">minimalist hyphy\u003c/a>” rapper Seiji Oda, up-and-coming R&B singer \u003ca href=\"https://www.kqed.org/arts/13894289/pass-the-aux-new-tracks-by-kiyomi-beeda-weeda-tyler-holmes-kelly-mcfarling-and-more\">Kiyomi\u003c/a> and a traditional Cantonese cover band Midnight.\u003c/p>\n\u003cp>Also returning from last year: a \u003ca href=\"https://www.instagram.com/p/DOPo8JUEZtv/?hl=en&img_index=1\">pan-Asian basketball tournament\u003c/a> at the Lincoln Square Park rec center starting at 1:30 p.m., with local squads representing China, Japan, Laos/Cambodia and the Philippines. Led by two popular streetball influencers, the Filipino squad took last year’s cup. But Trinh says the other teams have powered up with new recruits this year — they’ll be out for revenge.\u003c/p>\n\u003cfigure id=\"attachment_13981232\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981232\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/ocic_jeepeezee_final-95.jpg\" alt=\"On an outdoor basketball court, a Filipino American player scoops the ball toward the basket as two opponents look on.\" width=\"2000\" height=\"1600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/ocic_jeepeezee_final-95.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/ocic_jeepeezee_final-95-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/ocic_jeepeezee_final-95-768x614.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/ocic_jeepeezee_final-95-1536x1229.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Team Philippines (in the blue and gold shorts) beat out Team China at the 2024 ‘Asia Cup’ tournament. \u003ccite>(Gianpaolo Pabros, courtesy of OCIC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Trinh says that he’s been to other night markets around Oakland, but this one will always feel “just a little more special.”\u003c/p>\n\u003cp>“It really showed a sense of community,” he says. “It was a lot of people coming out and just supporting because they know that Chinatown has dealt with so much.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>The \u003c/i>\u003ca href=\"https://www.ocic-ca.org/2025-night-market\">\u003ci>Oakland Chinatown Night Market \u003c/i>\u003c/a>\u003ci>will take place on Saturday, Sept. 13, 5–10 p.m. on 8th Street in Oakland, between Webster and Broadway.\u003c/i>\u003c/p>\n\n",
"blocks": [],
"excerpt": "Neighborhood leaders hope to build on last year’s success.",
"status": "publish",
"parent": 0,
"modified": 1757476459,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 15,
"wordCount": 789
},
"headData": {
"title": "This Year’s Oakland Chinatown Night Market Will Be Even Bigger | KQED",
"description": "Neighborhood leaders hope to build on last year’s success.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "This Year’s Oakland Chinatown Night Market Will Be Even Bigger",
"datePublished": "2025-09-09T15:12:29-07:00",
"dateModified": "2025-09-09T20:54:19-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"primaryCategory": {
"termId": 12276,
"slug": "food",
"name": "Food"
},
"source": "Food",
"sourceUrl": "https://www.kqed.org/food",
"sticky": false,
"nprStoryId": "kqed-13981218",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/13981218/oakland-chinatown-night-market-2025-food-basketball-tournament-new-gold-medal",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Before last year’s inaugural Oakland Chinatown Night Market, community leaders had long dreamed of hosting a big, rollicking night market event — the sort of outdoor bash you’ll find in cities across Asia. Oakland Chinatown Improvement Council (OCIC) Executive Director Tony Trinh says the hardest part was getting the \u003ca href=\"https://www.kqed.org/arts/tag/chinatown\">Chinatown\u003c/a> shopkeepers and restaurant owners themselves to believe such a thing was possible.\u003c/p>\n\u003cp>“A lot of the merchants were very doubtful that we could pull off an event like that. Historically, Chinatown is a ghost town by like four o’clock,” Trinh says. When \u003ca href=\"https://www.kqed.org/arts/13892437/oaklanders-combat-chinatown-attacks-with-volunteering-mutual-aid\">fears of anti-Asian violence surged\u003c/a> during the COVID era, he explains, “Everybody was just too afraid to be out here.” As a result, only a couple of Chinatown restaurants set up booths at last year’s market. Most of the food vendors wound up coming from outside the neighborhood.\u003c/p>\n\u003cp>In that sense, the inaugural event was a proof of concept — a test to see if Oakland Chinatown actually \u003ci>could \u003c/i>host a bustling night market. And it proved to be even more successful than Trinh and his team had dared to hope: 14,000 people poured into the streets of Chinatown on a Saturday night. Food vendors were completely sold out by 8 p.m. Even the restaurants that chose not to actively participate still benefited, reporting a 200% increase in revenue that night, Trinh says.\u003c/p>\n\u003cfigure id=\"attachment_13981226\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981226\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/ocic_jeepeezee_final-150.jpg\" alt=\"A crowd of people eating at outdoors tables in Chinatown at nighttime.\" width=\"2000\" height=\"1600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/ocic_jeepeezee_final-150.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/ocic_jeepeezee_final-150-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/ocic_jeepeezee_final-150-768x614.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/ocic_jeepeezee_final-150-1536x1229.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">About 14,000 people came to the 2024 night market, according to the Oakland Chinatown Improvement Council. \u003ccite>(Gianpaolo Pabros, courtesy of OCIC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s with bolstered confidence, then, that OCIC is running the event back this year. The \u003ca href=\"https://www.ocic-ca.org/2025-night-market\">second annual Oakland Chinatown Night Market\u003c/a> will take place this Saturday, Sept. 13, 5–10 p.m., bringing the neighborhood to life with a mix of street food, antique trinkets, sports and live music — this time with much more robust participation from businesses within Chinatown.\u003c/p>\n\u003cp>“Now the food vendors believe in us,” Trinh says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Part of what that means is that many more restaurants will set up booths selling street food in front of their shops, including neighborhood staples like Alice Bakery and Shooting Star Cafe. Though one of last year’s core vendors, \u003ca href=\"https://www.kqed.org/arts/13956218/late-night-taiwanese-beef-noodle-soup-stinky-tofu-oakland-chinatown\">Lounge Chinatown\u003c/a>, has since closed, its Jack London sister restaurant, \u003ca href=\"https://www.kqed.org/arts/13918993/dragon-gate-oakland-taiwanese-restaurant-reopening-karaoke\">Dragon Gate\u003c/a>, will also have a booth.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13963258,arts_13974383",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>This year’s featured food theme will be a “Taste of Chinatown,” highlighting the kind of classic dishes that are most emblematic of the neighborhood: chicken wings and spring rolls from New Gold Medal, the \u003ca href=\"https://www.kqed.org/arts/13974383/oakland-chinatown-new-gold-medal-late-night\">legendary late-night spot\u003c/a>, and a roast duck rice plate from newcomer Hay Yue. Both of those plates will be available at OCIC’s own booth at the market.\u003c/p>\n\u003cp>All told, there will be more than 20 food vendors. The layout of the event will be inspired by Hong Kong’s traditional night markets, with a mix of food and retail, including Chinese antique vendors from the Laney College Flea Market.\u003c/p>\n\u003cfigure id=\"attachment_13981229\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981229\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/ocic_jeepeezee_final-131.jpg\" alt=\"A rapper viewed from behind as he performs in front of a large crowd in the streets of Oakland.\" width=\"2000\" height=\"1600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/ocic_jeepeezee_final-131.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/ocic_jeepeezee_final-131-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/ocic_jeepeezee_final-131-768x614.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/ocic_jeepeezee_final-131-1536x1229.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Oakland rapper Seiji Oda performing at the 2024 Oakland Chinatown Night Market. \u003ccite>(Gianpaolo Pabros, courtesy of OCIC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This year’s night market will also have a car show, curated by Castro Valley’s \u003ca href=\"https://www.instagram.com/nakayamamotorsports/?hl=en\">Nakayama Motorsports\u003c/a>. And it will bring back the most popular elements from last year’s event, including a performance stage featuring live music and DJs. This year’s featured artists will include Oakland’s own “\u003ca href=\"https://www.kqed.org/arts/13957194/seiji-oda-bay-area-rap-lo-fi-minimalist-hyphy\">minimalist hyphy\u003c/a>” rapper Seiji Oda, up-and-coming R&B singer \u003ca href=\"https://www.kqed.org/arts/13894289/pass-the-aux-new-tracks-by-kiyomi-beeda-weeda-tyler-holmes-kelly-mcfarling-and-more\">Kiyomi\u003c/a> and a traditional Cantonese cover band Midnight.\u003c/p>\n\u003cp>Also returning from last year: a \u003ca href=\"https://www.instagram.com/p/DOPo8JUEZtv/?hl=en&img_index=1\">pan-Asian basketball tournament\u003c/a> at the Lincoln Square Park rec center starting at 1:30 p.m., with local squads representing China, Japan, Laos/Cambodia and the Philippines. Led by two popular streetball influencers, the Filipino squad took last year’s cup. But Trinh says the other teams have powered up with new recruits this year — they’ll be out for revenge.\u003c/p>\n\u003cfigure id=\"attachment_13981232\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981232\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/ocic_jeepeezee_final-95.jpg\" alt=\"On an outdoor basketball court, a Filipino American player scoops the ball toward the basket as two opponents look on.\" width=\"2000\" height=\"1600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/ocic_jeepeezee_final-95.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/ocic_jeepeezee_final-95-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/ocic_jeepeezee_final-95-768x614.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/ocic_jeepeezee_final-95-1536x1229.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Team Philippines (in the blue and gold shorts) beat out Team China at the 2024 ‘Asia Cup’ tournament. \u003ccite>(Gianpaolo Pabros, courtesy of OCIC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Trinh says that he’s been to other night markets around Oakland, but this one will always feel “just a little more special.”\u003c/p>\n\u003cp>“It really showed a sense of community,” he says. “It was a lot of people coming out and just supporting because they know that Chinatown has dealt with so much.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>The \u003c/i>\u003ca href=\"https://www.ocic-ca.org/2025-night-market\">\u003ci>Oakland Chinatown Night Market \u003c/i>\u003c/a>\u003ci>will take place on Saturday, Sept. 13, 5–10 p.m. on 8th Street in Oakland, between Webster and Broadway.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13981218/oakland-chinatown-night-market-2025-food-basketball-tournament-new-gold-medal",
"authors": [
"11743"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_12276",
"arts_235"
],
"tags": [
"arts_2654",
"arts_10278",
"arts_1297",
"arts_22344",
"arts_1143",
"arts_585"
],
"featImg": "arts_13981230",
"label": "source_arts_13981218"
},
"arts_13980986": {
"type": "posts",
"id": "arts_13980986",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13980986",
"score": null,
"sort": [
1757008175000
]
},
"guestAuthors": [],
"slug": "doors-open-california-historic-sites-16th-street-station-berkeley-city-club",
"title": "‘Doors Open California’ Unlocks Historical Sites Across the State",
"publishDate": 1757008175,
"format": "standard",
"headTitle": "‘Doors Open California’ Unlocks Historical Sites Across the State | KQED",
"labelTerm": {},
"content": "\u003cp>A selection of California’s most storied buildings will be open to visitors throughout the month of September, as \u003ca href=\"https://californiapreservation.org/doca/\">Doors Open California\u003c/a>, an event series celebrating historic homes, film locations, train stations, museums and more, begins this weekend.\u003c/p>\n\u003cp>Organized by the \u003ca href=\"https://californiapreservation.org/\">California Preservation Foundation\u003c/a>, the series gives attendees access to over 70 sites all across the Golden State for a one-time fee of $20.\u003c/p>\n\u003cp>[aside postID='arts_13992952']“It’s about people’s interest in going behind the scenes of places that they typically can’t access,” says Jonathan Haeber, Doors Open program manager and field services director with the California Preservation Foundation.\u003c/p>\n\u003cp>He describes it as an invitation for people to see places that they’re curious about but normally breeze past in their daily lives. People want to learn more about the history, he says, and the diversity of cultures that are associated with California.\u003c/p>\n\u003cp>“These buildings, monuments and places,” says Haeber, “hold those memories for people — and in many cases we have the people that are associated with those histories right at the site, sharing their own stories.”\u003c/p>\n\u003cp>Participating spots include Gold Rush relics, historic mines and a 19th-century adobe home. In Southern California, participants can tour the site of feminist architect Alice Constance Austin’s \u003ca href=\"https://en.wikipedia.org/wiki/Llano_del_Rio\">Llano del Rio\u003c/a>, an early 1900s utopian experiment near Palmdale. People near Moss Landing can even step aboard \u003ca href=\"https://www.westernflyer.org/\">Western Flyer\u003c/a>, a 1937 sardine fishing boat made famous by John Steinbeck.\u003c/p>\n\u003cp>Here in the Bay Area, there’s a wealth of intriguing buildings and sites that’ll be accessible to long-curious locals.\u003c/p>\n\u003cfigure id=\"attachment_13980993\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13980993\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/12-Building-1-nice-drone-shot-copy.jpg\" alt=\"\" width=\"2000\" height=\"1045\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/12-Building-1-nice-drone-shot-copy.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/12-Building-1-nice-drone-shot-copy-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/12-Building-1-nice-drone-shot-copy-768x401.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/12-Building-1-nice-drone-shot-copy-1536x803.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-caption-text\">The former naval station on Treasure Island, originally built in the 1930s for the World’s Fair. \u003ccite>(California Preservation Foundation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In San Francisco, participants can visit the \u003ca href=\"https://www.haas-lilienthalhouse.org/\">Haas-Lilienthal House\u003c/a>, the city’s only intact Victorian house museum. Donated to SF Heritage by the family in the 1970s with much of the house’s historical furniture and belongings still on site, the majestic 1886 Queen Anne residence is a rare survivor of the 1906 earthquake and fire.\u003c/p>\n\u003cp>Across the Bay, spots are filling up for tours of Bernard Maybeck’s \u003ca href=\"https://www.csberkeley.org/societyfirst-church\">First Church of Christ, Scientist\u003c/a>. The beautiful 1910 structure, considered one of the architect’s masterpieces, is just one of two National Historic Landmarks in Berkeley (the other is Room 307 in UC Berkeley’s Gilman Hall on the UC Berkeley campus, where plutonium was discovered in 1941).\u003c/p>\n\u003cp>For those with a green thumb, the \u003ca href=\"https://msnucleus.org/calnursery/index.html\">California Nursery Historical Park\u003c/a> in Fremont may be your preferred Doors Open destination. The park, with show gardens, a test orchard, a museum, archives and an 1840 adobe, is the remaining 20 acres of what was once a 463-acre nursery founded in 1884 (aka a perfect picnic spot).\u003c/p>\n\u003cp>“We’ll be doing this every year in September,” says Haeber, adding that people should mark their calendars. And organizations that would like to be involved in the future, Haeber says, “all they have to do is \u003ca href=\"https://californiapreservation.org/doca/ideas/\">submit a quick form\u003c/a> and they can be a part of next year’s program.”\u003c/p>\n\u003chr />\n\u003cp>\u003cem>\u003ca href=\"https://californiapreservation.org/doca/\">Doors Open California\u003c/a> runs every Saturday and Sunday Sept. 5–27, 2026 at locations across the state.\u003c/em>\u003c/p>\n",
"blocks": [],
"excerpt": "California has a rich history. Thanks to this program, you don’t have to be wealthy to see it. ",
"status": "publish",
"parent": 0,
"modified": 1788559960,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 12,
"wordCount": 541
},
"headData": {
"title": "‘Doors Open California’ Unlocks Historical Sites Across the State | KQED",
"description": "California has a rich history. Thanks to this program, you don’t have to be wealthy to see it. ",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "‘Doors Open California’ Unlocks Historical Sites Across the State",
"datePublished": "2025-09-04T10:49:35-07:00",
"dateModified": "2026-09-04T15:12:40-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"primaryCategory": {
"termId": 1,
"slug": "arts",
"name": "Arts"
},
"source": "The Do List",
"sourceUrl": "https://www.kqed.org/thedolist",
"sticky": false,
"nprStoryId": "kqed-13980986",
"templateType": "standard",
"featuredImageType": "standard",
"subhead": "Here's your chance to see the Golden State's history, up close.",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/13980986/doors-open-california-historic-sites-16th-street-station-berkeley-city-club",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A selection of California’s most storied buildings will be open to visitors throughout the month of September, as \u003ca href=\"https://californiapreservation.org/doca/\">Doors Open California\u003c/a>, an event series celebrating historic homes, film locations, train stations, museums and more, begins this weekend.\u003c/p>\n\u003cp>Organized by the \u003ca href=\"https://californiapreservation.org/\">California Preservation Foundation\u003c/a>, the series gives attendees access to over 70 sites all across the Golden State for a one-time fee of $20.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13992952",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>“It’s about people’s interest in going behind the scenes of places that they typically can’t access,” says Jonathan Haeber, Doors Open program manager and field services director with the California Preservation Foundation.\u003c/p>\n\u003cp>He describes it as an invitation for people to see places that they’re curious about but normally breeze past in their daily lives. People want to learn more about the history, he says, and the diversity of cultures that are associated with California.\u003c/p>\n\u003cp>“These buildings, monuments and places,” says Haeber, “hold those memories for people — and in many cases we have the people that are associated with those histories right at the site, sharing their own stories.”\u003c/p>\n\u003cp>Participating spots include Gold Rush relics, historic mines and a 19th-century adobe home. In Southern California, participants can tour the site of feminist architect Alice Constance Austin’s \u003ca href=\"https://en.wikipedia.org/wiki/Llano_del_Rio\">Llano del Rio\u003c/a>, an early 1900s utopian experiment near Palmdale. People near Moss Landing can even step aboard \u003ca href=\"https://www.westernflyer.org/\">Western Flyer\u003c/a>, a 1937 sardine fishing boat made famous by John Steinbeck.\u003c/p>\n\u003cp>Here in the Bay Area, there’s a wealth of intriguing buildings and sites that’ll be accessible to long-curious locals.\u003c/p>\n\u003cfigure id=\"attachment_13980993\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13980993\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/12-Building-1-nice-drone-shot-copy.jpg\" alt=\"\" width=\"2000\" height=\"1045\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/12-Building-1-nice-drone-shot-copy.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/12-Building-1-nice-drone-shot-copy-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/12-Building-1-nice-drone-shot-copy-768x401.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/12-Building-1-nice-drone-shot-copy-1536x803.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" />\u003cfigcaption class=\"wp-caption-text\">The former naval station on Treasure Island, originally built in the 1930s for the World’s Fair. \u003ccite>(California Preservation Foundation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In San Francisco, participants can visit the \u003ca href=\"https://www.haas-lilienthalhouse.org/\">Haas-Lilienthal House\u003c/a>, the city’s only intact Victorian house museum. Donated to SF Heritage by the family in the 1970s with much of the house’s historical furniture and belongings still on site, the majestic 1886 Queen Anne residence is a rare survivor of the 1906 earthquake and fire.\u003c/p>\n\u003cp>Across the Bay, spots are filling up for tours of Bernard Maybeck’s \u003ca href=\"https://www.csberkeley.org/societyfirst-church\">First Church of Christ, Scientist\u003c/a>. The beautiful 1910 structure, considered one of the architect’s masterpieces, is just one of two National Historic Landmarks in Berkeley (the other is Room 307 in UC Berkeley’s Gilman Hall on the UC Berkeley campus, where plutonium was discovered in 1941).\u003c/p>\n\u003cp>For those with a green thumb, the \u003ca href=\"https://msnucleus.org/calnursery/index.html\">California Nursery Historical Park\u003c/a> in Fremont may be your preferred Doors Open destination. The park, with show gardens, a test orchard, a museum, archives and an 1840 adobe, is the remaining 20 acres of what was once a 463-acre nursery founded in 1884 (aka a perfect picnic spot).\u003c/p>\n\u003cp>“We’ll be doing this every year in September,” says Haeber, adding that people should mark their calendars. And organizations that would like to be involved in the future, Haeber says, “all they have to do is \u003ca href=\"https://californiapreservation.org/doca/ideas/\">submit a quick form\u003c/a> and they can be a part of next year’s program.”\u003c/p>\n\u003chr />\n\u003cp>\u003cem>\u003ca href=\"https://californiapreservation.org/doca/\">Doors Open California\u003c/a> runs every Saturday and Sunday Sept. 5–27, 2026 at locations across the state.\u003c/em>\u003c/p>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13980986/doors-open-california-historic-sites-16th-street-station-berkeley-city-club",
"authors": [
"11491",
"61"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_7862",
"arts_22313"
],
"tags": [
"arts_4178",
"arts_1270",
"arts_10278",
"arts_7496",
"arts_1143",
"arts_585"
],
"featImg": "arts_13993642",
"label": "source_arts_13980986"
},
"arts_13980557": {
"type": "posts",
"id": "arts_13980557",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13980557",
"score": null,
"sort": [
1756483878000
]
},
"guestAuthors": [],
"slug": "hurricane-katrina-20-years-poosie-oakland-anniversary",
"title": "From Katrina’s Flood to Oakland Stages, a Mother’s Purse Safeguarded Survival",
"publishDate": 1756483878,
"format": "standard",
"headTitle": "From Katrina’s Flood to Oakland Stages, a Mother’s Purse Safeguarded Survival | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>Through the mounted speakers inside a multistory warehouse in \u003ca href=\"https://www.kqed.org/news/tag/east-oakland\">East Oakland\u003c/a>, LaVance “Poo$ie” Warren’s thick New Orleans accent vibrates the room.\u003c/p>\n\u003cp>Rapping about life and death, the 28-year-old lyricist drops bars informed by generational poverty and the cycle of community violence. He also carries the weight of surviving Hurricane Katrina, the storm of a century, 20 years ago.\u003c/p>\n\u003cp>“Muderrrrrr she wrote,” he says into the mic, performing his take on Chaka Demus & Pliers’ classic reggae track. Poo$ie’s version has a hymn-like cadence, delivered over an ominous bass line. It’s one of 11 songs off of Poos$ie’s new album, \u003ca href=\"https://open.spotify.com/album/41SeCpKNcHvcJQU2ujscTF\">\u003cem>My Friends Like to Kill Each Other\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The mid-July edition of the \u003ca href=\"https://www.instagram.com/theofficehoursstudio/\">Office Hours\u003c/a> musical showcase is full of MCs and vocalists, dancers and media makers. It’s a who’s who of Bay Area talent: \u003ca href=\"https://www.instagram.com/jamel_griot/\">Jamel Griot\u003c/a>, \u003ca href=\"https://www.instagram.com/callherstoni/\">Stonï\u003c/a>, \u003ca href=\"https://www.instagram.com/firstnameian/\">Ian Kelly\u003c/a> and \u003ca href=\"https://www.instagram.com/alienmackitty/\">Alien Mac Kitty\u003c/a>, to name a few.\u003c/p>\n\u003cp>Event host \u003ca href=\"https://www.instagram.com/randymcphly/\">Randy McPhly\u003c/a> stands on a large rug that serves as a stage, contorting his face as Poo$ie rapidly gasses the track. “The ghetto’s just a graveyard / Lost but he played hard / Born with a bad hand / \u003ca href=\"https://www.kqed.org/arts/13927810/brendas-got-a-baby-tupac-shakur-ethel-love\">Brenda’s by the trash can\u003c/a>,” he says, throwing bars into the universe with ease.\u003c/p>\n\u003cp>Despite living in Oakland two decades, his Louisiana accent remains. He’s part of a diaspora of New Orleans kids who came of age in a new land after the federal government treated their families like refugees and fellow citizens stepped in to help.\u003c/p>\n\u003cfigure id=\"attachment_13917939\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13917939\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/PoosieSAE_RVS-3-scaled-e1661274509994.jpeg\" alt=\"Poo$ie\" width=\"2048\" height=\"1472\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/PoosieSAE_RVS-3-scaled-e1661274509994.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/PoosieSAE_RVS-3-scaled-e1661274509994-800x575.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/PoosieSAE_RVS-3-scaled-e1661274509994-1020x733.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/PoosieSAE_RVS-3-scaled-e1661274509994-160x115.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/PoosieSAE_RVS-3-scaled-e1661274509994-768x552.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/PoosieSAE_RVS-3-scaled-e1661274509994-1536x1104.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/PoosieSAE_RVS-3-scaled-e1661274509994-1920x1380.jpeg 1920w\" sizes=\"auto, (max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Poo$ie on stage. \u003ccite>(Edwin Roque / @rocky__vision)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Twenty years after Katrina forced his family from New Orleans to Oakland, Poo$ie has transformed trauma into art. His music and life as a young father reflect the resilience passed down from his mother, who during Katrina cared for him, his brothers and his grandmother. Poo$ie’s mother did so by relying on her own willpower, a few blessings from benevolent bystanders and the sheer luck concealed inside of a little black purse.\u003c/p>\n\u003cp>When Hurricane Katrina laid waste to the southern Gulf Coast in August 2005, it was one of the most powerful storms to ever hit the mainland United States, with \u003ca href=\"https://www.weather.gov/mob/katrina\">sustained winds of up to 175 mph\u003c/a>.\u003c/p>\n\u003cp>Torrential rain submerged buildings in more than 20 feet of water. The damage was compounded by \u003ca href=\"https://georgewbush-whitehouse.archives.gov/reports/katrina-lessons-learned/chapter4.html#:~:text=The%20New%20Orleans%20Flood%20and%20Hurricane%20Protection%20System%20is%20complex,very%20strong%20Category%202%20hurricane.\">aging infrastructure\u003c/a>, \u003ca href=\"https://shac.studentorg.berkeley.edu/2020/07/15/redlining-and-structural-racism/\">racist redlining housing policies\u003c/a> and \u003ca href=\"https://www.cato.org/blog/hurricane-katrina-remembering-federal-failures#:~:text=The%20Red%20Cross%20had%20239,prepositioning%20of%20people%20and%20assets.\">mismanagement of relief efforts\u003c/a> by local and federal officials.\u003c/p>\n\u003cp>More than 1,000 people died and an estimated \u003ca href=\"https://www.axios.com/local/new-orleans/2025/08/21/new-data-new-orleans-displaced-hurricane-katrina\">162,000 New Orleans residents were displaced\u003c/a>, many settling in Baton Rouge, Texas, or elsewhere in the South. Poo$ie and his family represent the approximately 16,000 New Orleans residents who relocated to other parts of the country, including California.[aside postID=arts_13807413 hero='https://ww2.kqed.org/app/uploads/sites/2/2017/09/Kanye.YouTube-1180x664.jpg']Now 20 years removed from the storm, Poo$ie is raising 6-year-old Zavion — about the same age he was when Hurricane Katrina hit, and when, just six months earlier, his own father was killed by gun violence in New Orleans.\u003c/p>\n\u003cp>“I was supposed to be with him the day he got killed,” Poo$ie tells me days after his performance. “That shit just sent me in a spiral.”\u003c/p>\n\u003cp>Because of what he experienced as a kid, he says he takes parenting and art more seriously than most. Zavion is often at his side, even at shows. His music is transparent and introspective — “spiritually inclined,” as he puts it.\u003c/p>\n\u003cp>“Not spiritually like your chakras are aligned,” Poo$ie clarifies with a laugh. “But like \u003ca href=\"https://slate.com/culture/2024/06/soulja-slim-death-new-orleans-rapper-master-p-juvenile.html\">Soulja Slim\u003c/a> came through my body,” he says, referring to the late rapper still beloved in New Orleans. “I’m channeling a certain energy. I represent a lot of people that ain’t here.”\u003c/p>\n\u003cp>As a child, Poo$ie lived in New Orleans’ notorious Calliope Projects and the Eighth Ward. At the time of the storm, he lived in Chalmette, an area on the Mississippi River, adjacent to the Lower Ninth Ward.\u003c/p>\n\u003cp>It’s not lost on him that he wouldn’t be rocking a crowd in East Oakland’s Jingletown neighborhood were it not for the strength of a few angels who looked out for him 20 years ago — and for his mother, her perseverance, and her little black purse.\u003c/p>\n\u003ch2>A birthday present to remember\u003c/h2>\n\u003cp>Days after her birthday, I visit Poo$ie’s mother, Letitia Morris-Ward, at her Hayward apartment. With red micro-braids, a big smile and a heavy Southern accent, she sits at a kitchen table covered in balloons and unopened gifts, reflecting on her celebration with family, including her three sons and four grandchildren.\u003c/p>\n\u003cp>It’s not too different from how she celebrated in 2005. Her only request back then, besides having her family present, was a small black Guess purse, “just to say it was my birthday,” she says.\u003c/p>\n\u003cp>Weeks later, when the storm hit, the purse became her saving grace: “It was the only thing I had left.”\u003c/p>\n\u003cfigure id=\"attachment_13979958\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13979958 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/250811-POOSIE-HURRICANE-KATRINA-MD-09-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/250811-POOSIE-HURRICANE-KATRINA-MD-09-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/250811-POOSIE-HURRICANE-KATRINA-MD-09-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/250811-POOSIE-HURRICANE-KATRINA-MD-09-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/250811-POOSIE-HURRICANE-KATRINA-MD-09-KQED-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Letitia Morris-Ward holds a new Guess purse similar to the one that she received for her birthday in 2005. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the time, she had just moved her boys — Poo$ie, 8, PaTrick, 11, and RaShad, 13 — out of the projects and into a two-story townhouse. She was working a new minimum-wage job at Shell gas station and driving a used Pontiac she bought for $700. Rent was $425 a month. Things were looking up.\u003c/p>\n\u003cp>Then the storm came.[aside postID=arts_13917938 hero='https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/IMG_0971-1536x1024.jpeg']Morris-Ward first heard the warnings from relatives, then a call from her brother, an offshore oil worker. By the time she realized its seriousness, it was nearly too late.\u003c/p>\n\u003cp>She packed the boys into the car and drove to the Eighth Ward to get her mother. On the return trip, guards wouldn’t let them enter Chalmette without ID — and she had left her new purse behind.\u003c/p>\n\u003cp>When they went back, the purse was still on the porch, untouched. “That’s how many people had started leaving the city,” she says.\u003c/p>\n\u003cp>When they came to the checkpoint again, guards warned her about returning home. “I dunno why you’re trying to go out there,” she recalls the armed serviceman telling her, “Y’all gonna be under 20 feet of water anyway. You won’t make it.”\u003c/p>\n\u003cp>Taking offense to the condescending tone, Morris-Ward said she replied, “That’s between me and God.”\u003c/p>\n\u003cp>Back home, she cooked food as her mother watched TV and the boys played. She figured it would rain and they’d be fine. Then her mother spoke up:\u003c/p>\n\u003cfigure id=\"attachment_13979957\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13979957 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/250811-POOSIE-HURRICANE-KATRINA-MD-06-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/250811-POOSIE-HURRICANE-KATRINA-MD-06-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/250811-POOSIE-HURRICANE-KATRINA-MD-06-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/250811-POOSIE-HURRICANE-KATRINA-MD-06-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/250811-POOSIE-HURRICANE-KATRINA-MD-06-KQED-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Letitia Morris-Ward sits in her living room at her home in Hayward on Aug. 12, 2025. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“She said, ‘My feet wet,’” Morris-Ward recalls.\u003c/p>\n\u003cp>Water was seeping in. It rose so fast that soon they fled upstairs. The wind tore the roof off. They worked with neighbors, breaking through walls to reach safer units.\u003c/p>\n\u003cp>At one point, Morris-Ward held Poo$ie out a window to flag down passing boats, then pulled him back, afraid he’d be traumatized by the sights.\u003c/p>\n\u003cp>“He saw a lady pass by with her arms folded tight, dead, floating on her back. With a baby,” Morris-Ward says.\u003c/p>\n\u003ch2>Seeking shelter\u003c/h2>\n\u003cp>Boats passed them by or capsized when overloaded. After 16 hours, they were rescued, but there wasn’t room for RaShad. Morris-Ward made rescuers promise to reunite them. She grabbed her new purse, stuffed with documents, IDs, a photo and a small phone book.\u003c/p>\n\u003cp>At the jail that doubled as an evacuation center, Morris-Ward’s two other boys slept in a cell. She waited up all night for RaShad, but he never came. “I wanted my child,” she says, choking up. “I stayed there until I couldn’t stand no more.”\u003c/p>\n\u003cp>The family was moved to a shelter at Louisiana State University in Baton Rouge. There, Morris-Ward did what she could to keep the boys fed and healthy. They even went to church on the Sunday after the storm.\u003c/p>\n\u003cfigure id=\"attachment_13979959\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13979959 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/250811-POOSIE-HURRICANE-KATRINA-MD-10-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/250811-POOSIE-HURRICANE-KATRINA-MD-10-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/250811-POOSIE-HURRICANE-KATRINA-MD-10-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/250811-POOSIE-HURRICANE-KATRINA-MD-10-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/250811-POOSIE-HURRICANE-KATRINA-MD-10-KQED-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Letitia Morris-Ward holds a photo of herself and her three sons at the 2000 Mardi Gras in News Orleans at her home in Hayward on Aug. 12, 2025. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Still, the conditions wore her down: Army food made her sick, her head hurt, an abscess grew under her arm. Her mother’s insulin had been lost in the flood, leaving her foaming at the mouth.\u003c/p>\n\u003cp>Morris-Ward hit a breaking point and left the shelter on foot without any intention of returning. “I walked so far my feet were just burning on the ground,” Morris-Ward says. But one thought made her turn around.\u003c/p>\n\u003cp>“The boys need me,” she said to herself. “They need me, they have nothing else. I’m the last option.”\u003c/p>\n\u003cp>At a Walgreens, she tried to buy insulin without a prescription but was met with resistance. A woman behind her in line stepped in: Jessica Johnson, mother of NBA rookie Tyrus Thomas. Johnson persuaded the pharmacist to sell Morris-Ward insulin.\u003c/p>\n\u003cp>“It was an angel standing behind me in line,” Morris-Ward says.\u003c/p>\n\u003cp>Johnson began accompanying Morris-Ward on shopping trips as store employees hovered, suspicious on the wristband identifying Morris-Ward as a Katrina survivor. When Morris-Ward eventually told her about her missing son RaShad, Johnson vowed to help.\u003c/p>\n\u003cfigure id=\"attachment_13979956\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13979956 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/250811-POOSIE-HURRICANE-KATRINA-MD-04-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/250811-POOSIE-HURRICANE-KATRINA-MD-04-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/250811-POOSIE-HURRICANE-KATRINA-MD-04-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/250811-POOSIE-HURRICANE-KATRINA-MD-04-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/250811-POOSIE-HURRICANE-KATRINA-MD-04-KQED-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Poo$ie (left) and his mother Letitia Morris-Ward at her home in Hayward on Aug. 12, 2025. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She gave Johnson a wallet-sized photo she had in her black purse. It was a picture of RaShad, posing with his cousin at a fancy ball. Johnson posted it online. When she came back days later to talk Morris-Ward figured the worst had happened. “My heart started beating fast,” she recalls.\u003c/p>\n\u003cp>But Johnson had found RaShad. A woman who saw her post had spotted him in Houston, shirtless and shoeless, outside of a dollar store.\u003c/p>\n\u003cp>Johnson grabbed Morris-Ward’s hand and said she’d drive to meet the woman halfway between the two cities in order to get RaShad, and then she did just that. After 12 days apart, RaShad and mother were reunited.\u003c/p>\n\u003cp>With RaShad back, Morris-Ward made plans to leave the shelter. In the phone book she had in her purse was a phone number written in her mother’s handwriting: “My brother. Uncle Leroy. Oakland, California.”\u003c/p>\n\u003cp>Along the way, strangers kept helping. Firefighters gave the family a ride to the airport. During a layover in Atlanta, an older Black woman asked if they were Katrina survivors and gave Morris-Ward $300.\u003c/p>\n\u003ch2>Turning trauma into art\u003c/h2>\n\u003cp>The arrival in Oakland brought new obstacles: expensive housing and discrimination against Katrina survivors.\u003c/p>\n\u003cp>But for Poo$ie, Oakland became home. He played Pop Warner, then \u003ca href=\"https://www.hudl.com/video/3/3819306/5721bc58c124573b545d7517\">starred as a running back\u003c/a> at McClymonds High School, helping win back-to-back citywide Silver Bowl championships in 2014 and 2015.\u003c/p>\n\u003cp>Before an interview with football coaches at Oakland’s Laney College, Poo$ie told his mother about a way to process the impacts of the storm and its aftermath.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=5EiPtez9AAg\u003c/p>\n\u003cp>“I know what can help me,” she recalls him saying. “I’m about to start sitting down, writing rap music about how I feel.”\u003c/p>\n\u003cp>He’s released nine full-length albums since.\u003c/p>\n\u003cp>Morris-Ward, too, found peace in telling her story. She wasn’t always so open: “My mama was in the streets,” Poo$ie says, noting she once had a mouth full of gold teeth. “So you know, she just now coming into ‘feelings’ and s—,” he says with air quotes.\u003c/p>\n\u003cfigure id=\"attachment_13980255\" class=\"wp-caption alignleft\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13980255\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/img_4947-1-2000x2667.jpg\" alt=\"\" width=\"2000\" height=\"2667\">\u003cfigcaption class=\"wp-caption-text\">Poo$ie rocks the mic during a performance at the Office Hours event in East Oakland \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Now, when Hurricane Katrina comes up, she’s comfortable talking about her experience, “because maybe I can help somebody out in their situation, someone that’s going through something and they’re holding it in,” she says.\u003c/p>\n\u003cp>An employee of AC Transit for the past 19 years, Morris-Ward is now stable and married. She’s been to New Orleans a few times since her life there was upended by Hurricane Katrina. Her mother, who swore to never return to the Big Easy, passed in 2014, just before the first trip back.\u003c/p>\n\u003cp>Morris-Ward keeps recipes from New Orleans in rotation, including beignets. On her trips back, she picks up special ingredients she can only get there.\u003c/p>\n\u003cp>“New Orleans is in me, bro,” Poo$ie says. “This is just who we are — we speak a different dialect at home, it’s really a different language.”\u003c/p>\n\u003cp>In addition to New Orleans culture, Morris-Ward passed along something else to Poo$ie: approaches to parenting. After witnessing his mother’s tenacity, Poo$ie is mindful to teach his son survival skills, from swimming to fighting. “I don’t know when \u003cem>I’m\u003c/em> gonna need \u003cem>you\u003c/em>,” he says, his young son sitting within earshot.\u003c/p>\n\u003cp>Today, Morris-Ward sits in her apartment surrounded by candles and walls covered in recent family photos; Katrina washed away so many of her old ones.\u003c/p>\n\u003cp>She doesn’t play about negative energy, asking people to check themselves before they cross the threshold of her front door. She’s in a good place.\u003c/p>\n\u003cp>“I’ve literally seen my mom change as a person,” Poo$ie says. “I love to see her tending to herself and discovering new ways to heal whatever happened even before I was here. Before the storm.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
"blocks": [],
"excerpt": "After surviving Hurricane Katrina, Oakland rapper Poo$ie channels loss, resilience, and New Orleans roots into his music and fatherhood.",
"status": "publish",
"parent": 0,
"modified": 1756531457,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 59,
"wordCount": 2413
},
"headData": {
"title": "From Katrina’s Flood to Oakland Stages, a Mother’s Purse Safeguarded Survival | KQED",
"description": "After surviving Hurricane Katrina, Oakland rapper Poo$ie channels loss, resilience, and New Orleans roots into his music and fatherhood.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "From Katrina’s Flood to Oakland Stages, a Mother’s Purse Safeguarded Survival",
"datePublished": "2025-08-29T09:11:18-07:00",
"dateModified": "2025-08-29T22:24:17-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"primaryCategory": {
"termId": 235,
"slug": "news",
"name": "News"
},
"audioUrl": "https://traffic.omny.fm/d/clips/0af137ef-751e-4b19-a055-aaef00d2d578/ffca7e9f-6831-41c5-bcaf-aaef00f5a073/9c0d10aa-d366-4da7-8a52-b348010c76d5/audio.mp3",
"sticky": false,
"nprStoryId": "kqed-13980557",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/13980557/hurricane-katrina-20-years-poosie-oakland-anniversary",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Through the mounted speakers inside a multistory warehouse in \u003ca href=\"https://www.kqed.org/news/tag/east-oakland\">East Oakland\u003c/a>, LaVance “Poo$ie” Warren’s thick New Orleans accent vibrates the room.\u003c/p>\n\u003cp>Rapping about life and death, the 28-year-old lyricist drops bars informed by generational poverty and the cycle of community violence. He also carries the weight of surviving Hurricane Katrina, the storm of a century, 20 years ago.\u003c/p>\n\u003cp>“Muderrrrrr she wrote,” he says into the mic, performing his take on Chaka Demus & Pliers’ classic reggae track. Poo$ie’s version has a hymn-like cadence, delivered over an ominous bass line. It’s one of 11 songs off of Poos$ie’s new album, \u003ca href=\"https://open.spotify.com/album/41SeCpKNcHvcJQU2ujscTF\">\u003cem>My Friends Like to Kill Each Other\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The mid-July edition of the \u003ca href=\"https://www.instagram.com/theofficehoursstudio/\">Office Hours\u003c/a> musical showcase is full of MCs and vocalists, dancers and media makers. It’s a who’s who of Bay Area talent: \u003ca href=\"https://www.instagram.com/jamel_griot/\">Jamel Griot\u003c/a>, \u003ca href=\"https://www.instagram.com/callherstoni/\">Stonï\u003c/a>, \u003ca href=\"https://www.instagram.com/firstnameian/\">Ian Kelly\u003c/a> and \u003ca href=\"https://www.instagram.com/alienmackitty/\">Alien Mac Kitty\u003c/a>, to name a few.\u003c/p>\n\u003cp>Event host \u003ca href=\"https://www.instagram.com/randymcphly/\">Randy McPhly\u003c/a> stands on a large rug that serves as a stage, contorting his face as Poo$ie rapidly gasses the track. “The ghetto’s just a graveyard / Lost but he played hard / Born with a bad hand / \u003ca href=\"https://www.kqed.org/arts/13927810/brendas-got-a-baby-tupac-shakur-ethel-love\">Brenda’s by the trash can\u003c/a>,” he says, throwing bars into the universe with ease.\u003c/p>\n\u003cp>Despite living in Oakland two decades, his Louisiana accent remains. He’s part of a diaspora of New Orleans kids who came of age in a new land after the federal government treated their families like refugees and fellow citizens stepped in to help.\u003c/p>\n\u003cfigure id=\"attachment_13917939\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13917939\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/PoosieSAE_RVS-3-scaled-e1661274509994.jpeg\" alt=\"Poo$ie\" width=\"2048\" height=\"1472\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/PoosieSAE_RVS-3-scaled-e1661274509994.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/PoosieSAE_RVS-3-scaled-e1661274509994-800x575.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/PoosieSAE_RVS-3-scaled-e1661274509994-1020x733.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/PoosieSAE_RVS-3-scaled-e1661274509994-160x115.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/PoosieSAE_RVS-3-scaled-e1661274509994-768x552.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/PoosieSAE_RVS-3-scaled-e1661274509994-1536x1104.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/PoosieSAE_RVS-3-scaled-e1661274509994-1920x1380.jpeg 1920w\" sizes=\"auto, (max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Poo$ie on stage. \u003ccite>(Edwin Roque / @rocky__vision)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Twenty years after Katrina forced his family from New Orleans to Oakland, Poo$ie has transformed trauma into art. His music and life as a young father reflect the resilience passed down from his mother, who during Katrina cared for him, his brothers and his grandmother. Poo$ie’s mother did so by relying on her own willpower, a few blessings from benevolent bystanders and the sheer luck concealed inside of a little black purse.\u003c/p>\n\u003cp>When Hurricane Katrina laid waste to the southern Gulf Coast in August 2005, it was one of the most powerful storms to ever hit the mainland United States, with \u003ca href=\"https://www.weather.gov/mob/katrina\">sustained winds of up to 175 mph\u003c/a>.\u003c/p>\n\u003cp>Torrential rain submerged buildings in more than 20 feet of water. The damage was compounded by \u003ca href=\"https://georgewbush-whitehouse.archives.gov/reports/katrina-lessons-learned/chapter4.html#:~:text=The%20New%20Orleans%20Flood%20and%20Hurricane%20Protection%20System%20is%20complex,very%20strong%20Category%202%20hurricane.\">aging infrastructure\u003c/a>, \u003ca href=\"https://shac.studentorg.berkeley.edu/2020/07/15/redlining-and-structural-racism/\">racist redlining housing policies\u003c/a> and \u003ca href=\"https://www.cato.org/blog/hurricane-katrina-remembering-federal-failures#:~:text=The%20Red%20Cross%20had%20239,prepositioning%20of%20people%20and%20assets.\">mismanagement of relief efforts\u003c/a> by local and federal officials.\u003c/p>\n\u003cp>More than 1,000 people died and an estimated \u003ca href=\"https://www.axios.com/local/new-orleans/2025/08/21/new-data-new-orleans-displaced-hurricane-katrina\">162,000 New Orleans residents were displaced\u003c/a>, many settling in Baton Rouge, Texas, or elsewhere in the South. Poo$ie and his family represent the approximately 16,000 New Orleans residents who relocated to other parts of the country, including California.\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13807413",
"hero": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/Kanye.YouTube-1180x664.jpg",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Now 20 years removed from the storm, Poo$ie is raising 6-year-old Zavion — about the same age he was when Hurricane Katrina hit, and when, just six months earlier, his own father was killed by gun violence in New Orleans.\u003c/p>\n\u003cp>“I was supposed to be with him the day he got killed,” Poo$ie tells me days after his performance. “That shit just sent me in a spiral.”\u003c/p>\n\u003cp>Because of what he experienced as a kid, he says he takes parenting and art more seriously than most. Zavion is often at his side, even at shows. His music is transparent and introspective — “spiritually inclined,” as he puts it.\u003c/p>\n\u003cp>“Not spiritually like your chakras are aligned,” Poo$ie clarifies with a laugh. “But like \u003ca href=\"https://slate.com/culture/2024/06/soulja-slim-death-new-orleans-rapper-master-p-juvenile.html\">Soulja Slim\u003c/a> came through my body,” he says, referring to the late rapper still beloved in New Orleans. “I’m channeling a certain energy. I represent a lot of people that ain’t here.”\u003c/p>\n\u003cp>As a child, Poo$ie lived in New Orleans’ notorious Calliope Projects and the Eighth Ward. At the time of the storm, he lived in Chalmette, an area on the Mississippi River, adjacent to the Lower Ninth Ward.\u003c/p>\n\u003cp>It’s not lost on him that he wouldn’t be rocking a crowd in East Oakland’s Jingletown neighborhood were it not for the strength of a few angels who looked out for him 20 years ago — and for his mother, her perseverance, and her little black purse.\u003c/p>\n\u003ch2>A birthday present to remember\u003c/h2>\n\u003cp>Days after her birthday, I visit Poo$ie’s mother, Letitia Morris-Ward, at her Hayward apartment. With red micro-braids, a big smile and a heavy Southern accent, she sits at a kitchen table covered in balloons and unopened gifts, reflecting on her celebration with family, including her three sons and four grandchildren.\u003c/p>\n\u003cp>It’s not too different from how she celebrated in 2005. Her only request back then, besides having her family present, was a small black Guess purse, “just to say it was my birthday,” she says.\u003c/p>\n\u003cp>Weeks later, when the storm hit, the purse became her saving grace: “It was the only thing I had left.”\u003c/p>\n\u003cfigure id=\"attachment_13979958\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13979958 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/250811-POOSIE-HURRICANE-KATRINA-MD-09-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/250811-POOSIE-HURRICANE-KATRINA-MD-09-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/250811-POOSIE-HURRICANE-KATRINA-MD-09-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/250811-POOSIE-HURRICANE-KATRINA-MD-09-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/250811-POOSIE-HURRICANE-KATRINA-MD-09-KQED-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Letitia Morris-Ward holds a new Guess purse similar to the one that she received for her birthday in 2005. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the time, she had just moved her boys — Poo$ie, 8, PaTrick, 11, and RaShad, 13 — out of the projects and into a two-story townhouse. She was working a new minimum-wage job at Shell gas station and driving a used Pontiac she bought for $700. Rent was $425 a month. Things were looking up.\u003c/p>\n\u003cp>Then the storm came.\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13917938",
"hero": "https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/IMG_0971-1536x1024.jpeg",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Morris-Ward first heard the warnings from relatives, then a call from her brother, an offshore oil worker. By the time she realized its seriousness, it was nearly too late.\u003c/p>\n\u003cp>She packed the boys into the car and drove to the Eighth Ward to get her mother. On the return trip, guards wouldn’t let them enter Chalmette without ID — and she had left her new purse behind.\u003c/p>\n\u003cp>When they went back, the purse was still on the porch, untouched. “That’s how many people had started leaving the city,” she says.\u003c/p>\n\u003cp>When they came to the checkpoint again, guards warned her about returning home. “I dunno why you’re trying to go out there,” she recalls the armed serviceman telling her, “Y’all gonna be under 20 feet of water anyway. You won’t make it.”\u003c/p>\n\u003cp>Taking offense to the condescending tone, Morris-Ward said she replied, “That’s between me and God.”\u003c/p>\n\u003cp>Back home, she cooked food as her mother watched TV and the boys played. She figured it would rain and they’d be fine. Then her mother spoke up:\u003c/p>\n\u003cfigure id=\"attachment_13979957\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13979957 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/250811-POOSIE-HURRICANE-KATRINA-MD-06-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/250811-POOSIE-HURRICANE-KATRINA-MD-06-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/250811-POOSIE-HURRICANE-KATRINA-MD-06-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/250811-POOSIE-HURRICANE-KATRINA-MD-06-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/250811-POOSIE-HURRICANE-KATRINA-MD-06-KQED-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Letitia Morris-Ward sits in her living room at her home in Hayward on Aug. 12, 2025. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“She said, ‘My feet wet,’” Morris-Ward recalls.\u003c/p>\n\u003cp>Water was seeping in. It rose so fast that soon they fled upstairs. The wind tore the roof off. They worked with neighbors, breaking through walls to reach safer units.\u003c/p>\n\u003cp>At one point, Morris-Ward held Poo$ie out a window to flag down passing boats, then pulled him back, afraid he’d be traumatized by the sights.\u003c/p>\n\u003cp>“He saw a lady pass by with her arms folded tight, dead, floating on her back. With a baby,” Morris-Ward says.\u003c/p>\n\u003ch2>Seeking shelter\u003c/h2>\n\u003cp>Boats passed them by or capsized when overloaded. After 16 hours, they were rescued, but there wasn’t room for RaShad. Morris-Ward made rescuers promise to reunite them. She grabbed her new purse, stuffed with documents, IDs, a photo and a small phone book.\u003c/p>\n\u003cp>At the jail that doubled as an evacuation center, Morris-Ward’s two other boys slept in a cell. She waited up all night for RaShad, but he never came. “I wanted my child,” she says, choking up. “I stayed there until I couldn’t stand no more.”\u003c/p>\n\u003cp>The family was moved to a shelter at Louisiana State University in Baton Rouge. There, Morris-Ward did what she could to keep the boys fed and healthy. They even went to church on the Sunday after the storm.\u003c/p>\n\u003cfigure id=\"attachment_13979959\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13979959 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/250811-POOSIE-HURRICANE-KATRINA-MD-10-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/250811-POOSIE-HURRICANE-KATRINA-MD-10-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/250811-POOSIE-HURRICANE-KATRINA-MD-10-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/250811-POOSIE-HURRICANE-KATRINA-MD-10-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/250811-POOSIE-HURRICANE-KATRINA-MD-10-KQED-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Letitia Morris-Ward holds a photo of herself and her three sons at the 2000 Mardi Gras in News Orleans at her home in Hayward on Aug. 12, 2025. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Still, the conditions wore her down: Army food made her sick, her head hurt, an abscess grew under her arm. Her mother’s insulin had been lost in the flood, leaving her foaming at the mouth.\u003c/p>\n\u003cp>Morris-Ward hit a breaking point and left the shelter on foot without any intention of returning. “I walked so far my feet were just burning on the ground,” Morris-Ward says. But one thought made her turn around.\u003c/p>\n\u003cp>“The boys need me,” she said to herself. “They need me, they have nothing else. I’m the last option.”\u003c/p>\n\u003cp>At a Walgreens, she tried to buy insulin without a prescription but was met with resistance. A woman behind her in line stepped in: Jessica Johnson, mother of NBA rookie Tyrus Thomas. Johnson persuaded the pharmacist to sell Morris-Ward insulin.\u003c/p>\n\u003cp>“It was an angel standing behind me in line,” Morris-Ward says.\u003c/p>\n\u003cp>Johnson began accompanying Morris-Ward on shopping trips as store employees hovered, suspicious on the wristband identifying Morris-Ward as a Katrina survivor. When Morris-Ward eventually told her about her missing son RaShad, Johnson vowed to help.\u003c/p>\n\u003cfigure id=\"attachment_13979956\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13979956 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/250811-POOSIE-HURRICANE-KATRINA-MD-04-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/250811-POOSIE-HURRICANE-KATRINA-MD-04-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/250811-POOSIE-HURRICANE-KATRINA-MD-04-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/250811-POOSIE-HURRICANE-KATRINA-MD-04-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/250811-POOSIE-HURRICANE-KATRINA-MD-04-KQED-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Poo$ie (left) and his mother Letitia Morris-Ward at her home in Hayward on Aug. 12, 2025. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She gave Johnson a wallet-sized photo she had in her black purse. It was a picture of RaShad, posing with his cousin at a fancy ball. Johnson posted it online. When she came back days later to talk Morris-Ward figured the worst had happened. “My heart started beating fast,” she recalls.\u003c/p>\n\u003cp>But Johnson had found RaShad. A woman who saw her post had spotted him in Houston, shirtless and shoeless, outside of a dollar store.\u003c/p>\n\u003cp>Johnson grabbed Morris-Ward’s hand and said she’d drive to meet the woman halfway between the two cities in order to get RaShad, and then she did just that. After 12 days apart, RaShad and mother were reunited.\u003c/p>\n\u003cp>With RaShad back, Morris-Ward made plans to leave the shelter. In the phone book she had in her purse was a phone number written in her mother’s handwriting: “My brother. Uncle Leroy. Oakland, California.”\u003c/p>\n\u003cp>Along the way, strangers kept helping. Firefighters gave the family a ride to the airport. During a layover in Atlanta, an older Black woman asked if they were Katrina survivors and gave Morris-Ward $300.\u003c/p>\n\u003ch2>Turning trauma into art\u003c/h2>\n\u003cp>The arrival in Oakland brought new obstacles: expensive housing and discrimination against Katrina survivors.\u003c/p>\n\u003cp>But for Poo$ie, Oakland became home. He played Pop Warner, then \u003ca href=\"https://www.hudl.com/video/3/3819306/5721bc58c124573b545d7517\">starred as a running back\u003c/a> at McClymonds High School, helping win back-to-back citywide Silver Bowl championships in 2014 and 2015.\u003c/p>\n\u003cp>Before an interview with football coaches at Oakland’s Laney College, Poo$ie told his mother about a way to process the impacts of the storm and its aftermath.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/5EiPtez9AAg'\n title='//www.youtube.com/embed/5EiPtez9AAg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“I know what can help me,” she recalls him saying. “I’m about to start sitting down, writing rap music about how I feel.”\u003c/p>\n\u003cp>He’s released nine full-length albums since.\u003c/p>\n\u003cp>Morris-Ward, too, found peace in telling her story. She wasn’t always so open: “My mama was in the streets,” Poo$ie says, noting she once had a mouth full of gold teeth. “So you know, she just now coming into ‘feelings’ and s—,” he says with air quotes.\u003c/p>\n\u003cfigure id=\"attachment_13980255\" class=\"wp-caption alignleft\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13980255\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/img_4947-1-2000x2667.jpg\" alt=\"\" width=\"2000\" height=\"2667\">\u003cfigcaption class=\"wp-caption-text\">Poo$ie rocks the mic during a performance at the Office Hours event in East Oakland \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Now, when Hurricane Katrina comes up, she’s comfortable talking about her experience, “because maybe I can help somebody out in their situation, someone that’s going through something and they’re holding it in,” she says.\u003c/p>\n\u003cp>An employee of AC Transit for the past 19 years, Morris-Ward is now stable and married. She’s been to New Orleans a few times since her life there was upended by Hurricane Katrina. Her mother, who swore to never return to the Big Easy, passed in 2014, just before the first trip back.\u003c/p>\n\u003cp>Morris-Ward keeps recipes from New Orleans in rotation, including beignets. On her trips back, she picks up special ingredients she can only get there.\u003c/p>\n\u003cp>“New Orleans is in me, bro,” Poo$ie says. “This is just who we are — we speak a different dialect at home, it’s really a different language.”\u003c/p>\n\u003cp>In addition to New Orleans culture, Morris-Ward passed along something else to Poo$ie: approaches to parenting. After witnessing his mother’s tenacity, Poo$ie is mindful to teach his son survival skills, from swimming to fighting. “I don’t know when \u003cem>I’m\u003c/em> gonna need \u003cem>you\u003c/em>,” he says, his young son sitting within earshot.\u003c/p>\n\u003cp>Today, Morris-Ward sits in her apartment surrounded by candles and walls covered in recent family photos; Katrina washed away so many of her old ones.\u003c/p>\n\u003cp>She doesn’t play about negative energy, asking people to check themselves before they cross the threshold of her front door. She’s in a good place.\u003c/p>\n\u003cp>“I’ve literally seen my mom change as a person,” Poo$ie says. “I love to see her tending to herself and discovering new ways to heal whatever happened even before I was here. Before the storm.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13980557/hurricane-katrina-20-years-poosie-oakland-anniversary",
"authors": [
"11491"
],
"categories": [
"arts_1",
"arts_69",
"arts_235"
],
"tags": [
"arts_1331",
"arts_1398",
"arts_10342",
"arts_21720",
"arts_10278",
"arts_10422",
"arts_6298",
"arts_2171",
"arts_1143",
"arts_22382"
],
"featImg": "arts_13979955",
"label": "arts"
},
"arts_13980760": {
"type": "posts",
"id": "arts_13980760",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13980760",
"score": null,
"sort": [
1756396238000
]
},
"guestAuthors": [],
"slug": "ariana-grande-tickets-presale-code-eternal-sunshine-tour-oakland-arena",
"title": "Ticket Alert: Ariana Grande at the Oakland Arena",
"publishDate": 1756396238,
"format": "standard",
"headTitle": "Ticket Alert: Ariana Grande at the Oakland Arena | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>It’s been six long years since \u003ca href=\"https://www.kqed.org/pop/tag/ariana-grande\">Ariana Grande\u003c/a> went on tour. So it’s big news that her just-announced Eternal Sunshine tour crisscrosses North America next summer, and it’s an added bonus for the Bay Area that the entire tour kicks off right here with \u003ca href=\"https://www.ticketmaster.com/ariana-grande-the-eternal-sunshine-tour-oakland-california-06-06-2026/event/1C00631913D14AD8\">two nights in Oakland\u003c/a>. \u003c/p>\n\u003cp>Ariana Grande will play the \u003ca href=\"https://www.kqed.org/arts/tag/oakland-arena\">Oakland Arena\u003c/a> on Saturday, June 6, and Tuesday, June 9. The shows are sure to sell out quickly — and we’ve got details on how you can buy tickets before the general public.\u003c/p>\n\u003cp>Presale tickets for Ariana Grande’s shows go on sale Tuesday, Sept. 9, at 10 a.m. local time. In order to be eligible for the presale, you must sign up at \u003ca href=\"https://signup.ticketmaster.com/arianagrande\">this presale link right here\u003c/a>. There is no presale code; access to the presale is tied directly to your Ticketmaster account. Presale signups close at 11 a.m. Pacific Time on Sunday, Sept. 7.\u003c/p>\n\u003cp>[aside postID='arts_13962051']After signing up, you will receive a presale link via email the day before, on Sept. 8. Then, on Sept. 9, you can join the ticket waiting room at 9:30 a.m., 30 minutes before the presale starts. \u003c/p>\n\u003cp>As of this time, no other presales have been announced for the Ariana Grande tour, such as credit card presales, Spotify presales or Live Nation presales. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The general onsale for the Oakland shows starts Wednesday, Sept. 10, at 10 a.m. Pacific Time.\u003c/p>\n\n",
"blocks": [],
"excerpt": "How to score presale tickets to Ariana’s first tour in six years, which kicks off in Oakland. ",
"status": "publish",
"parent": 0,
"modified": 1756409706,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 8,
"wordCount": 249
},
"headData": {
"title": "How to Get Ariana Grande Presale Tickets for Eternal Sunshine Tour | KQED",
"description": "Details about presale codes and signups for tickets to Ariana Grande's first tour in six years, which kicks off in Oakland.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"socialTitle": "How to Get Ariana Grande Presale Tickets for Eternal Sunshine Tour %%page%% %%sep%% KQED",
"socialDescription": "Details about presale codes and signups for tickets to Ariana Grande's first tour in six years, which kicks off in Oakland.",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Ticket Alert: Ariana Grande at the Oakland Arena",
"datePublished": "2025-08-28T08:50:38-07:00",
"dateModified": "2025-08-28T12:35:06-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"primaryCategory": {
"termId": 1,
"slug": "arts",
"name": "Arts"
},
"sticky": false,
"nprStoryId": "kqed-13980760",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/13980760/ariana-grande-tickets-presale-code-eternal-sunshine-tour-oakland-arena",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s been six long years since \u003ca href=\"https://www.kqed.org/pop/tag/ariana-grande\">Ariana Grande\u003c/a> went on tour. So it’s big news that her just-announced Eternal Sunshine tour crisscrosses North America next summer, and it’s an added bonus for the Bay Area that the entire tour kicks off right here with \u003ca href=\"https://www.ticketmaster.com/ariana-grande-the-eternal-sunshine-tour-oakland-california-06-06-2026/event/1C00631913D14AD8\">two nights in Oakland\u003c/a>. \u003c/p>\n\u003cp>Ariana Grande will play the \u003ca href=\"https://www.kqed.org/arts/tag/oakland-arena\">Oakland Arena\u003c/a> on Saturday, June 6, and Tuesday, June 9. The shows are sure to sell out quickly — and we’ve got details on how you can buy tickets before the general public.\u003c/p>\n\u003cp>Presale tickets for Ariana Grande’s shows go on sale Tuesday, Sept. 9, at 10 a.m. local time. In order to be eligible for the presale, you must sign up at \u003ca href=\"https://signup.ticketmaster.com/arianagrande\">this presale link right here\u003c/a>. There is no presale code; access to the presale is tied directly to your Ticketmaster account. Presale signups close at 11 a.m. Pacific Time on Sunday, Sept. 7.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13962051",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>After signing up, you will receive a presale link via email the day before, on Sept. 8. Then, on Sept. 9, you can join the ticket waiting room at 9:30 a.m., 30 minutes before the presale starts. \u003c/p>\n\u003cp>As of this time, no other presales have been announced for the Ariana Grande tour, such as credit card presales, Spotify presales or Live Nation presales. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The general onsale for the Oakland shows starts Wednesday, Sept. 10, at 10 a.m. Pacific Time.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13980760/ariana-grande-tickets-presale-code-eternal-sunshine-tour-oakland-arena",
"authors": [
"185"
],
"categories": [
"arts_1",
"arts_69",
"arts_75"
],
"tags": [
"arts_1143",
"arts_21988",
"arts_6012",
"arts_22445",
"arts_700",
"arts_4798"
],
"featImg": "arts_13980761",
"label": "arts"
},
"arts_13980452": {
"type": "posts",
"id": "arts_13980452",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13980452",
"score": null,
"sort": [
1755815852000
]
},
"guestAuthors": [],
"slug": "oakland-black-film-festival-oakstop-barry-jenkins-ryan-coogler-rae-shaw",
"title": "A New, Year-Long Black Film Series Just Launched in Oakland",
"publishDate": 1755815852,
"format": "standard",
"headTitle": "A New, Year-Long Black Film Series Just Launched in Oakland | KQED",
"labelTerm": {},
"content": "\u003cp>Early short films by \u003ca href=\"https://www.kqed.org/arts/13844783/barry-jenkins-enjoys-doing-laundry-talks-beale-street\">Barry Jenkins\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13974810/ryan-coogler-sinners-grand-lake-theatre-interview\">Ryan Coogler\u003c/a> will be screening in \u003ca href=\"https://www.kqed.org/arts/tag/oakland\">Oakland\u003c/a> in September, thanks to a new, year-long film series presented by the Sarah Webster Fabio Center for Social Justice.\u003c/p>\n\u003cp>[aside postid='arts_13978981']\u003ca href=\"https://swfcenter4sj.org/new-screenings-2025/\">\u003cem>Black Film: Unscreened & Unstreamed\u003c/em>\u003c/a> is co-curated by Oakland filmmakers \u003ca href=\"https://www.imdb.com/name/nm9289275/\">Cheryl Fabio\u003c/a> and \u003ca href=\"https://www.imdb.com/name/nm3105824/\">Rae Shaw\u003c/a>, along with Cornelius Moore, the co-director of \u003ca href=\"https://newsreel.org/\">California Newsreel\u003c/a>. Screenings through the end of 2025 will take place on Thursdays in the first floor gallery of \u003ca href=\"https://oakstop.com/portfolio-tag/broadway/\">Oakstop\u003c/a>, the co-working and event space in downtown Oakland. Every event will be accompanied by discussion and analysis from hosts and a variety of guests.\u003c/p>\n\u003cp>Each evening’s selections will fall under a particular theme. Jenkins’ \u003cem>Remigration\u003c/em> and Coogler’s \u003cem>Locks\u003c/em> will be showing on Sept. 11 as part of an evening titled “Summoning Justice.” The other films on the bill are Niema Jordan’s \u003cem>Labor\u003c/em> and Jessica Jones’ \u003cem>On the Pulse of Life\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13980516\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13980516\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/labor.png\" alt=\"A Black woman with cropped hair leans on a railing, while holding a brown leather bound book. She is wearing a peasant dress.\" width=\"2000\" height=\"1212\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/labor.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/labor-160x97.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/labor-768x465.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/labor-1536x931.png 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A moment from Niema Jordan’s ‘Labor,’ filmed at Lake Merritt. \u003ccite>(The Center For Cultural Power)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Rae Shaw’s own exhilarating \u003ca href=\"https://www.youtube.com/watch?v=7_BbEOsmw9w\">\u003cem>Black Kung Fu Chick\u003c/em>\u003c/a> will screen during a night honoring the theme “Growing Into Strength” in October. The short film is about a teenage girl chasing her academic dreams while under the tutelage of her high school science teacher … who also happens to be a martial arts master. That same night, \u003cem>Bottled Spirits\u003c/em> — Elizabeth Carter and Cat Brooks’ creative exploration of West Oakland gentrification — will also play.\u003c/p>\n\u003cp>[aside postid='arts_13979989']Full-length features on the 2025 schedule include documentaries like the much-lauded \u003cem>\u003ca href=\"https://www.pbs.org/newshour/show/daughters-directors-on-the-complex-bond-between-men-behind-bars-and-their-daughters\">Daughters\u003c/a>\u003c/em>, about father-daughter relationships under the constraints of incarceration, and \u003cem>Uzikee\u003c/em>, a profile of Washington, D.C. sculptor Uzikee Nelson. (The latter was directed by Nelson’s nephew Doug Harris, who is from Berkeley.) A December event dedicated to Oakland’s musical legacy will screen \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=TjlIQOhiGlw\">Fantastic Negrito: Have Your Lost Your Mind Yet?\u003c/a>\u003c/em>, a documentary about the Grammy-winning blues visionary.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Black Film: Unscreened & Unstreamed\u003c/em> kicked off Aug. 14 with screenings of two of Nijla Mu’min’s films, broadcasting the series’ focus on Black culture and local filmmaking. “We lean into Oakland-specific filmmakers in the first half of this year-long series,” explains Cheryl Fabio in the program’s press release. “Oakland’s Black community remains the focus of the entire selection process.”\u003c/p>\n\u003cp>In addition to the upcoming movie screenings, workshops will be held to encourage and inspire new Bay Area filmmakers. Rae Shaw is hosting a screenwriting workshop on Aug. 28; on Sept. 25, Sareeta Young and CB Smith-Dahl will be hitting Lake Merritt to teach participants the best ways to make movies on their cell phones.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Dates and details about the full ‘Black Film: Unscreened & Unstreamed’ roster can be found at \u003ca href=\"https://swfcenter4sj.org/new-screenings-2025/\">the Sarah Webster Fabio Center for Social Justice’s website\u003c/a>. Admission to all programs is free, but an RSVP is required.\u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "In addition to movie screenings, ‘Black Film: Unscreened & Unstreamed’ includes discussions and workshops.",
"status": "publish",
"parent": 0,
"modified": 1755837484,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 10,
"wordCount": 516
},
"headData": {
"title": "A New Black Film Series Just Launched in Oakland | KQED",
"description": "In addition to movie screenings, ‘Black Film: Unscreened & Unstreamed’ includes discussions and workshops.",
"ogTitle": "A New, Year-Long Black Film Series Just Launched in Oakland",
"ogDescription": "",
"ogImgId": "",
"twTitle": "A New, Year-Long Black Film Series Just Launched in Oakland",
"twDescription": "",
"twImgId": "",
"socialTitle": "A New Black Film Series Just Launched in Oakland %%page%% %%sep%% KQED",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "A New, Year-Long Black Film Series Just Launched in Oakland",
"datePublished": "2025-08-21T15:37:32-07:00",
"dateModified": "2025-08-21T21:38:04-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"primaryCategory": {
"termId": 22313,
"slug": "the-do-list",
"name": "The Do List"
},
"source": "The Do List",
"sourceUrl": "https://www.kqed.org/thedolist",
"sticky": false,
"nprStoryId": "kqed-13980452",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/13980452/oakland-black-film-festival-oakstop-barry-jenkins-ryan-coogler-rae-shaw",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Early short films by \u003ca href=\"https://www.kqed.org/arts/13844783/barry-jenkins-enjoys-doing-laundry-talks-beale-street\">Barry Jenkins\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13974810/ryan-coogler-sinners-grand-lake-theatre-interview\">Ryan Coogler\u003c/a> will be screening in \u003ca href=\"https://www.kqed.org/arts/tag/oakland\">Oakland\u003c/a> in September, thanks to a new, year-long film series presented by the Sarah Webster Fabio Center for Social Justice.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13978981",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003ca href=\"https://swfcenter4sj.org/new-screenings-2025/\">\u003cem>Black Film: Unscreened & Unstreamed\u003c/em>\u003c/a> is co-curated by Oakland filmmakers \u003ca href=\"https://www.imdb.com/name/nm9289275/\">Cheryl Fabio\u003c/a> and \u003ca href=\"https://www.imdb.com/name/nm3105824/\">Rae Shaw\u003c/a>, along with Cornelius Moore, the co-director of \u003ca href=\"https://newsreel.org/\">California Newsreel\u003c/a>. Screenings through the end of 2025 will take place on Thursdays in the first floor gallery of \u003ca href=\"https://oakstop.com/portfolio-tag/broadway/\">Oakstop\u003c/a>, the co-working and event space in downtown Oakland. Every event will be accompanied by discussion and analysis from hosts and a variety of guests.\u003c/p>\n\u003cp>Each evening’s selections will fall under a particular theme. Jenkins’ \u003cem>Remigration\u003c/em> and Coogler’s \u003cem>Locks\u003c/em> will be showing on Sept. 11 as part of an evening titled “Summoning Justice.” The other films on the bill are Niema Jordan’s \u003cem>Labor\u003c/em> and Jessica Jones’ \u003cem>On the Pulse of Life\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13980516\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13980516\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/labor.png\" alt=\"A Black woman with cropped hair leans on a railing, while holding a brown leather bound book. She is wearing a peasant dress.\" width=\"2000\" height=\"1212\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/labor.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/labor-160x97.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/labor-768x465.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/labor-1536x931.png 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A moment from Niema Jordan’s ‘Labor,’ filmed at Lake Merritt. \u003ccite>(The Center For Cultural Power)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Rae Shaw’s own exhilarating \u003ca href=\"https://www.youtube.com/watch?v=7_BbEOsmw9w\">\u003cem>Black Kung Fu Chick\u003c/em>\u003c/a> will screen during a night honoring the theme “Growing Into Strength” in October. The short film is about a teenage girl chasing her academic dreams while under the tutelage of her high school science teacher … who also happens to be a martial arts master. That same night, \u003cem>Bottled Spirits\u003c/em> — Elizabeth Carter and Cat Brooks’ creative exploration of West Oakland gentrification — will also play.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13979989",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Full-length features on the 2025 schedule include documentaries like the much-lauded \u003cem>\u003ca href=\"https://www.pbs.org/newshour/show/daughters-directors-on-the-complex-bond-between-men-behind-bars-and-their-daughters\">Daughters\u003c/a>\u003c/em>, about father-daughter relationships under the constraints of incarceration, and \u003cem>Uzikee\u003c/em>, a profile of Washington, D.C. sculptor Uzikee Nelson. (The latter was directed by Nelson’s nephew Doug Harris, who is from Berkeley.) A December event dedicated to Oakland’s musical legacy will screen \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=TjlIQOhiGlw\">Fantastic Negrito: Have Your Lost Your Mind Yet?\u003c/a>\u003c/em>, a documentary about the Grammy-winning blues visionary.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Black Film: Unscreened & Unstreamed\u003c/em> kicked off Aug. 14 with screenings of two of Nijla Mu’min’s films, broadcasting the series’ focus on Black culture and local filmmaking. “We lean into Oakland-specific filmmakers in the first half of this year-long series,” explains Cheryl Fabio in the program’s press release. “Oakland’s Black community remains the focus of the entire selection process.”\u003c/p>\n\u003cp>In addition to the upcoming movie screenings, workshops will be held to encourage and inspire new Bay Area filmmakers. Rae Shaw is hosting a screenwriting workshop on Aug. 28; on Sept. 25, Sareeta Young and CB Smith-Dahl will be hitting Lake Merritt to teach participants the best ways to make movies on their cell phones.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Dates and details about the full ‘Black Film: Unscreened & Unstreamed’ roster can be found at \u003ca href=\"https://swfcenter4sj.org/new-screenings-2025/\">the Sarah Webster Fabio Center for Social Justice’s website\u003c/a>. Admission to all programs is free, but an RSVP is required.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13980452/oakland-black-film-festival-oakstop-barry-jenkins-ryan-coogler-rae-shaw",
"authors": [
"11242"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_74",
"arts_22313"
],
"tags": [
"arts_10278",
"arts_3852",
"arts_1143",
"arts_585"
],
"featImg": "arts_13980526",
"label": "source_arts_13980452"
},
"arts_13980403": {
"type": "posts",
"id": "arts_13980403",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13980403",
"score": null,
"sort": [
1755720057000
]
},
"guestAuthors": [],
"slug": "best-festivals-outdoor-block-parties-food-fun-bay-area-2025",
"title": "15 of the Best Outdoor Festivals in the Bay Area This Fall",
"publishDate": 1755720057,
"format": "aside",
"headTitle": "15 of the Best Outdoor Festivals in the Bay Area This Fall | KQED",
"labelTerm": {},
"content": "\u003cp>\u003cstrong>\u003cem>Be sure to check out our full \u003ca href=\"https://www.kqed.org/arts/tag/fall-guide-2025\">2025 Fall Arts Guide\u003c/a> to live music, movies, art, theater, festivals and more in the Bay Area.\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Mother Nature clearly overheard us discussing this year’s frigid start to summer in the Bay Area. Now, as temperatures around the region rise and we transition into “real summer” (also known as autumn), here’s some highlights of the season’s festivals and street fairs. \u003c/p>\n\u003cfigure id=\"attachment_13974858\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Courtesy-of-Yerba-Buena-Gardens.jpg\" alt=\"\" width=\"2000\" height=\"1331\" class=\"size-full wp-image-13974858\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Courtesy-of-Yerba-Buena-Gardens.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Courtesy-of-Yerba-Buena-Gardens-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Courtesy-of-Yerba-Buena-Gardens-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Courtesy-of-Yerba-Buena-Gardens-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Courtesy-of-Yerba-Buena-Gardens-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Courtesy-of-Yerba-Buena-Gardens-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Courtesy-of-Yerba-Buena-Gardens-1920x1278.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Performances at the Yerba Buena Gardens Festival are always free. \u003ccite>(Courtesy Yerba Buena Gardens Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://ybgfestival.org/events/?gad_source=1&gad_campaignid=36955909&gbraid=0AAAAAD3Ys4dhgMHawicf5GGZOYX0Sz9gJ\">Yerba Buena Gardens Festival\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Through Nov. 1\u003c/i>\u003cbr>\n\u003ci>Yerba Buena Gardens, San Francisco\u003c/i> \u003c/p>\n\u003cp>This series of free shows has a little bit of something for everyone, including poetry with \u003ca href=\"https://www.niamcallister.com/\">Nia Pearl\u003c/a>, a performance by the\u003ca href=\"http://www.parangal.org/\"> Parangal Dance Company\u003c/a>, puppet shows by \u003ca href=\"https://www.caterpillarpuppets.com/\">Joe Leon\u003c/a> and music from the likes of\u003ca href=\"https://www.instagram.com/samorapinderhughes/?hl=en\"> Samora Pinderhughes\u003c/a> and the \u003ca href=\"https://marcusshelby.com/\">Marcus Shelby Orchestra\u003c/a>. Held in the open grounds between the Metreon and SFMOMA, the series concludes with a “Halloween Hoopla” event. \u003c/p>\n\u003ch2>\u003ca href=\"https://www.eventbrite.com/e/cultura-fest-2025-tickets-1502121548989?aff=ebdssbdestsearch\">Cultura Fest\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Aug. 23\u003c/i>\u003cbr>\n\u003ci>Grand Avenue, South San Francisco\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>South San Francisco comes alive for this free street party, held along the city’s main thoroughfare. Stand-up comedian\u003ca href=\"https://www.hoozay.tv/\"> Jose ‘Hoozay’ Velasquez\u003c/a> and onetime \u003ci>The Voice\u003c/i> finalist \u003ca href=\"https://www.instagram.com/cathiamusic/?hl=en\">Cáthia\u003c/a> are among the performers at Cultura Fest, which also includes a community parade, a visual art exhibition, Lucha Libre wrestling, Latin American cuisine, a craft fair and more.\u003c/p>\n\u003ch2>\u003ca href=\"https://www.eventbrite.com/e/bizerkeley-food-fest-week-exclusive-events-sept-1st-7th-tickets-1502022893909?aff=ebdssbdestsearch\">Bizerkeley Food Fest Week\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Sept. 1–7\u003c/i>\u003cbr>\n\u003ci>Various venues, Berkeley and North Oakland\u003c/i>\u003c/p>\n\u003cp>Erika Hazel, also known as the Bizerkeley Vegan, founded this annual festival to celebrate meat- and dairy-free lifestyles. The week’s events include a screening of the food-systems documentary \u003ci>They’re Trying to Kill Us\u003c/i>, a pickleball tournament, a vegan mac & cheese contest and more.\u003c/p>\n\u003cfigure id=\"attachment_13980412\" class=\"wp-caption aligncenter\" style=\"max-width: 1136px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Joe-Bataan-Cover.jpg\" alt=\"\" width=\"1136\" height=\"757\" class=\"size-full wp-image-13980412\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Joe-Bataan-Cover.jpg 1136w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Joe-Bataan-Cover-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Joe-Bataan-Cover-768x512.jpg 768w\" sizes=\"auto, (max-width: 1136px) 100vw, 1136px\">\u003cfigcaption class=\"wp-caption-text\">Latin soul singer Joe Bataan will perform at this year’s Chicano Soul Fest in San Jose. \u003ccite>(Courtesy Joe Bataan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.eventbrite.com/e/chicano-soul-fest-tickets-1273321261169?aff=ebdssbdestsearch\">Chicano Soul Fest\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Sept. 8\u003c/i>\u003cbr>\n\u003ci>History Park, San Jose\u003c/i>\u003c/p>\n\u003cp>Onstage at last year’s Chicano Soul Fest,\u003ca href=\"https://www.instagram.com/reel/DAJiJq2Sd82/?hl=en\"> Sarah La Morena\u003c/a> explained how she, an African American woman, was raised by a Mexican family — and then delivered a Banda performance that quickly went viral. This year’s festival features Latin soul legend Joe Bataan, Aztec dancers, hip-hop group Lighter Shade of Brown, Chicano resistance art, lowrider bikes and cars, and a tribute to the late soul singer Brenton Wood. \u003c/p>\n\u003ch2>\u003ca href=\"https://www.edgeonthesquare.org/sf-program\">Annual Contemporary Art Festival\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Sept. 13\u003c/i>\u003cbr>\n\u003ci>Chinatown, San Francisco\u003c/i>\u003c/p>\n\u003cp>This year’s event, titled \u003ci>Super Flex: Powered by Alter Egos and Shadow Selves,\u003c/i> features modern artworks like \u003ca href=\"https://www.instagram.com/sholehasgary/?hl=en\">Sholeh Asgary\u003c/a>’s sound performance “41 Alleys” — a “site-specific radio project” inspired by Golden Star Radio,” the first Chinese-language station on the continent formerly located at 850 Grant Avenue. A sensory tank and archival government documents make up other projects at this dynamic art festival.\u003c/p>\n\u003ch2>\u003ca href=\"https://www.eventbrite.com/e/mill-valley-fall-arts-festival-september-20-21-2025-hours-10-5-tickets-1405716859969?aff=ebdssbdestsearch\">Mill Valley Fall Arts Festival\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Sept. 20 and 21\u003c/i>\u003cbr>\n\u003ci>Old Mill Park, Mill Valley\u003c/i>\u003c/p>\n\u003cp>Mill Valley has changed drastically in the 55 years since a third-grade children’s chorus had \u003ca href=\"https://www.youtube.com/watch?v=qcRIl23-t_s\">a minor hit paying tribute to the small Marin County town\u003c/a>. Along with live performances, the festival also hosts fine crafts from over 100 different makers and a children’s grove with magic tricks and storytelling — for the third graders of today. \u003c/p>\n\u003cfigure id=\"attachment_13937762\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-28-BL-KQED.jpg\" alt=\"A person wearing a baseball cap stands at a table under fluorescent lighting.\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13937762\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-28-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-28-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-28-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-28-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-28-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-28-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-28-BL-KQED-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">DJ Qbert will lend his eye-popping turntable skills to benefit the Daly City Library. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.eventbrite.com/e/dcplas-art-lit-fest-tickets-1478982208599?aff=ebdssbdestsearch\">Daly City Public Library’s Art & Lit Fest\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Sept. 27\u003c/i>\u003cbr>\n\u003ci>Serramonte Center, Daly City\u003c/i>\u003c/p>\n\u003cp>At this day-long celebration of reading, art, poetry and music, \u003ca href=\"https://koit.com/shows/freska/\">96.5 KOIT radio show host Freska\u003c/a>,\u003ca href=\"https://www.instagram.com/djajaxsf/?hl=en\"> DJ Ajax\u003c/a> and world-renowned \u003ca href=\"https://www.djqbert.com/\">DJ QBert\u003c/a> are scheduled attractions. The free, all-ages event doubles as a fundraiser for the Daly City Public Library. \u003c/p>\n\u003ch2>\u003ca href=\"https://www.folsomstreet.org/folsom-street-fair\">Folsom Street Fair\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Sept. 28\u003c/i>\u003cbr>\n\u003ci>Folsom Street, San Francisco\u003c/i>\u003c/p>\n\u003cp>For some, art is a matter of what you’re wearing (or not wearing). The Folsom Street Fair (pro tip: don’t try to bring children) celebrates leather, bondage and the liberating act of letting the sun shine where the sun doesn’t shine. \u003c/p>\n\u003ch2>\u003ca href=\"https://youtu.be/sshhb5ISHvI?si=PelIllKibSJTWDbQ\">Oktoberfest\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Throughout October\u003c/i>\u003cbr>\n\u003ci>Various locations\u003c/i> \u003c/p>\n\u003cp>Lederhosen! Tubas! And most importantly: beer! \u003ca href=\"https://www.oaktoberfest.org/\">Oakland’s “Oaktoberfest”\u003c/a> takes place on Oct. 4 and Sunday Oct. 5 East Oakland’s Dimond District. On the peninsula,\u003ca href=\"https://www.mvoktoberfest.com/\"> Mountain View’s Oktoberfest\u003c/a> is the following weekend, Oct. 11 and 12. And if you’re in the South Bay,\u003ca href=\"https://campbelloktoberfest.com/\"> Campbell’s Oktoberfest\u003c/a> is Oct. 18 and 19. \u003c/p>\n\u003cfigure id=\"attachment_13980417\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/241005-OaklandBlackCowboyParade-019-BL.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13980417\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/241005-OaklandBlackCowboyParade-019-BL.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/241005-OaklandBlackCowboyParade-019-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/241005-OaklandBlackCowboyParade-019-BL-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/241005-OaklandBlackCowboyParade-019-BL-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jaelah (left), 12, a member of the Blue Bird Riders from Manteca, rides with her friend Aniyah, 13, during the Oakland Black Cowboy Association parade in Oakland on Oct. 5, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.oaklandbca.org/\">Oakland’s Black Cowboy Parade\u003c/a> / \u003ca href=\"https://lifeisliving.org/\">Life Is Living Festival\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Oct. 4 and Oct. 11\u003c/i>\u003cbr>\n\u003ci>Little Bobby Hutton Park, Oakland\u003c/i>\u003c/p>\n\u003cp>After celebrating its 50 anniversary last year,\u003ca href=\"https://www.kqed.org/news/12008139/oaklands-black-cowboy-association-celebrates-50-years-with-parade-and-festival\"> the Oakland Black Cowboy Association\u003c/a> returns for its annual parade, with food vendors, dancers, tales of Black history and pony rides. The following Saturday sees the return of the long-running \u003ca href=\"https://lifeisliving.org/\">Life Is Living Festival\u003c/a>, which starts with a Black Panthers free breakfast and includes live music, poetry, DJs and a historic Black Panther Party exhibition.\u003c/p>\n\u003ch2>\u003ca href=\"https://castrostreetfair.org/fair/\">The Castro Street Fair\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Oct. 5\u003c/i>\u003cbr>\n\u003ci>Castro Street, San Francisco\u003c/i>\u003c/p>\n\u003cp>Now in its 51st year, this celebration of community and resilience takes over the Castro for an event with all proceeds going to charitable causes. Live music, DJs, food, activities and more are heralded by Harvey Milk Plaza’s giant rainbow flag. \u003c/p>\n\u003ch2>\u003ca href=\"https://gardensatlakemerritt.org/autumn-lights-festival-2025/\">Autumn Lights Festival\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Oct. 16–18\u003c/i>\u003cbr>\n\u003ci>Lake Merritt, Oakland\u003c/i>\u003c/p>\n\u003cp>An event tailor-made for those who think art is best served in the form of colorfully illuminated lights decoratively placed in a garden — preferably in Oakland. \u003c/p>\n\u003ch2>\u003ca href=\"https://hmbpumpkinfest.com/\">Half Moon Bay Art & Pumpkin Festival\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Oct. 18–19\u003c/i>\u003cbr>\n\u003ci>Half Moon Bay\u003c/i>\u003c/p>\n\u003cp>The winner of last year’s world championship pumpkin weigh-off at this festival drove 32 hours\u003ca href=\"https://abc11.com/post/2471-pound-gourd-minnesota-wins-world-championship-pumpkin-weigh-off-california/15430625/\"> from Minnesota\u003c/a> with a pumpkin that measured over 7 feet tall and 20 feet around, and weighed \u003ca href=\"https://hmbweighoff.com/results.html\">2,471\u003c/a> pounds. Who will win this year? Find out at this year’s weekend event – and maybe even get a photo with the winner.\u003c/p>\n\u003cfigure id=\"attachment_13937469\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-37.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13937469\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-37.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-37-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-37-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-37-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-37-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-37-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Sirena Covarrubias attends the Oakland Día de los Muertos Festival in Fruitvale on Sunday, Oct. 29, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://unitycouncil.org/program/diaoakland/\">Oakland’s Dia De Los Muertos Festival\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Nov. 2\u003c/i>\u003cbr>\n\u003ci>Fruitvale Village, Oakland\u003c/i>\u003c/p>\n\u003cp>Sugar skulls and marigolds are in great supply at this vibrant outdoor fair — and especially this year, as the event celebrates its 30th anniversary. \u003c/p>\n\u003cp>\u003cb>Briefly Noted\u003c/b>\u003c/p>\n\u003cp>\u003ca href=\"https://sfcheesefest.com/\">SF Cheese Fest\u003c/a> (Sept. 13; San Francisco)\u003c/p>\n\u003cp>\u003ca href=\"https://www.eventbrite.com/e/filipino-island-fest-tickets-1389794977189?aff=ebdssbdestsearch\">Filipino Island Fest\u003c/a> (Oct. 4; Alameda)\u003c/p>\n\u003cp>\u003ca href=\"https://fleetweeksf.org/\">Fleet Week\u003c/a> (Oct. 5–13; San Francisco)\u003c/p>\n\u003cp>\u003ca href=\"https://www.litquake.org/2024-festival\">Litquake\u003c/a> (Oct. 9–25; San Francisco)\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ca href=\"https://www.fallchocolatesalon.com/\">Fall Holiday Chocolate Salon and Festival\u003c/a> (Nov. 23; San Francisco)\u003c/p>\n\n",
"blocks": [],
"excerpt": "Black cowboys, vegan food, art, lowriders, books, lederhosen — the Bay's fall festivals have something for everybody.",
"status": "publish",
"parent": 0,
"modified": 1755901045,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 38,
"wordCount": 1149
},
"headData": {
"title": "15 of the Best Outdoor Festivals in the Bay Area This Fall | KQED",
"description": "Black cowboys, vegan food, art, lowriders, books, lederhosen — the Bay's fall festivals have something for everybody.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "15 of the Best Outdoor Festivals in the Bay Area This Fall",
"datePublished": "2025-08-20T13:00:57-07:00",
"dateModified": "2025-08-22T15:17:25-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"primaryCategory": {
"termId": 1,
"slug": "arts",
"name": "Arts"
},
"source": "Fall Guide 2025 ",
"sourceUrl": "https://www.kqed.org/arts/tag/fall-guide-2025",
"sticky": false,
"nprStoryId": "kqed-13980403",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/13980403/best-festivals-outdoor-block-parties-food-fun-bay-area-2025",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>\u003cem>Be sure to check out our full \u003ca href=\"https://www.kqed.org/arts/tag/fall-guide-2025\">2025 Fall Arts Guide\u003c/a> to live music, movies, art, theater, festivals and more in the Bay Area.\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Mother Nature clearly overheard us discussing this year’s frigid start to summer in the Bay Area. Now, as temperatures around the region rise and we transition into “real summer” (also known as autumn), here’s some highlights of the season’s festivals and street fairs. \u003c/p>\n\u003cfigure id=\"attachment_13974858\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Courtesy-of-Yerba-Buena-Gardens.jpg\" alt=\"\" width=\"2000\" height=\"1331\" class=\"size-full wp-image-13974858\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Courtesy-of-Yerba-Buena-Gardens.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Courtesy-of-Yerba-Buena-Gardens-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Courtesy-of-Yerba-Buena-Gardens-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Courtesy-of-Yerba-Buena-Gardens-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Courtesy-of-Yerba-Buena-Gardens-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Courtesy-of-Yerba-Buena-Gardens-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Courtesy-of-Yerba-Buena-Gardens-1920x1278.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Performances at the Yerba Buena Gardens Festival are always free. \u003ccite>(Courtesy Yerba Buena Gardens Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://ybgfestival.org/events/?gad_source=1&gad_campaignid=36955909&gbraid=0AAAAAD3Ys4dhgMHawicf5GGZOYX0Sz9gJ\">Yerba Buena Gardens Festival\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Through Nov. 1\u003c/i>\u003cbr>\n\u003ci>Yerba Buena Gardens, San Francisco\u003c/i> \u003c/p>\n\u003cp>This series of free shows has a little bit of something for everyone, including poetry with \u003ca href=\"https://www.niamcallister.com/\">Nia Pearl\u003c/a>, a performance by the\u003ca href=\"http://www.parangal.org/\"> Parangal Dance Company\u003c/a>, puppet shows by \u003ca href=\"https://www.caterpillarpuppets.com/\">Joe Leon\u003c/a> and music from the likes of\u003ca href=\"https://www.instagram.com/samorapinderhughes/?hl=en\"> Samora Pinderhughes\u003c/a> and the \u003ca href=\"https://marcusshelby.com/\">Marcus Shelby Orchestra\u003c/a>. Held in the open grounds between the Metreon and SFMOMA, the series concludes with a “Halloween Hoopla” event. \u003c/p>\n\u003ch2>\u003ca href=\"https://www.eventbrite.com/e/cultura-fest-2025-tickets-1502121548989?aff=ebdssbdestsearch\">Cultura Fest\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Aug. 23\u003c/i>\u003cbr>\n\u003ci>Grand Avenue, South San Francisco\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>South San Francisco comes alive for this free street party, held along the city’s main thoroughfare. Stand-up comedian\u003ca href=\"https://www.hoozay.tv/\"> Jose ‘Hoozay’ Velasquez\u003c/a> and onetime \u003ci>The Voice\u003c/i> finalist \u003ca href=\"https://www.instagram.com/cathiamusic/?hl=en\">Cáthia\u003c/a> are among the performers at Cultura Fest, which also includes a community parade, a visual art exhibition, Lucha Libre wrestling, Latin American cuisine, a craft fair and more.\u003c/p>\n\u003ch2>\u003ca href=\"https://www.eventbrite.com/e/bizerkeley-food-fest-week-exclusive-events-sept-1st-7th-tickets-1502022893909?aff=ebdssbdestsearch\">Bizerkeley Food Fest Week\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Sept. 1–7\u003c/i>\u003cbr>\n\u003ci>Various venues, Berkeley and North Oakland\u003c/i>\u003c/p>\n\u003cp>Erika Hazel, also known as the Bizerkeley Vegan, founded this annual festival to celebrate meat- and dairy-free lifestyles. The week’s events include a screening of the food-systems documentary \u003ci>They’re Trying to Kill Us\u003c/i>, a pickleball tournament, a vegan mac & cheese contest and more.\u003c/p>\n\u003cfigure id=\"attachment_13980412\" class=\"wp-caption aligncenter\" style=\"max-width: 1136px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Joe-Bataan-Cover.jpg\" alt=\"\" width=\"1136\" height=\"757\" class=\"size-full wp-image-13980412\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Joe-Bataan-Cover.jpg 1136w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Joe-Bataan-Cover-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Joe-Bataan-Cover-768x512.jpg 768w\" sizes=\"auto, (max-width: 1136px) 100vw, 1136px\">\u003cfigcaption class=\"wp-caption-text\">Latin soul singer Joe Bataan will perform at this year’s Chicano Soul Fest in San Jose. \u003ccite>(Courtesy Joe Bataan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.eventbrite.com/e/chicano-soul-fest-tickets-1273321261169?aff=ebdssbdestsearch\">Chicano Soul Fest\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Sept. 8\u003c/i>\u003cbr>\n\u003ci>History Park, San Jose\u003c/i>\u003c/p>\n\u003cp>Onstage at last year’s Chicano Soul Fest,\u003ca href=\"https://www.instagram.com/reel/DAJiJq2Sd82/?hl=en\"> Sarah La Morena\u003c/a> explained how she, an African American woman, was raised by a Mexican family — and then delivered a Banda performance that quickly went viral. This year’s festival features Latin soul legend Joe Bataan, Aztec dancers, hip-hop group Lighter Shade of Brown, Chicano resistance art, lowrider bikes and cars, and a tribute to the late soul singer Brenton Wood. \u003c/p>\n\u003ch2>\u003ca href=\"https://www.edgeonthesquare.org/sf-program\">Annual Contemporary Art Festival\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Sept. 13\u003c/i>\u003cbr>\n\u003ci>Chinatown, San Francisco\u003c/i>\u003c/p>\n\u003cp>This year’s event, titled \u003ci>Super Flex: Powered by Alter Egos and Shadow Selves,\u003c/i> features modern artworks like \u003ca href=\"https://www.instagram.com/sholehasgary/?hl=en\">Sholeh Asgary\u003c/a>’s sound performance “41 Alleys” — a “site-specific radio project” inspired by Golden Star Radio,” the first Chinese-language station on the continent formerly located at 850 Grant Avenue. A sensory tank and archival government documents make up other projects at this dynamic art festival.\u003c/p>\n\u003ch2>\u003ca href=\"https://www.eventbrite.com/e/mill-valley-fall-arts-festival-september-20-21-2025-hours-10-5-tickets-1405716859969?aff=ebdssbdestsearch\">Mill Valley Fall Arts Festival\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Sept. 20 and 21\u003c/i>\u003cbr>\n\u003ci>Old Mill Park, Mill Valley\u003c/i>\u003c/p>\n\u003cp>Mill Valley has changed drastically in the 55 years since a third-grade children’s chorus had \u003ca href=\"https://www.youtube.com/watch?v=qcRIl23-t_s\">a minor hit paying tribute to the small Marin County town\u003c/a>. Along with live performances, the festival also hosts fine crafts from over 100 different makers and a children’s grove with magic tricks and storytelling — for the third graders of today. \u003c/p>\n\u003cfigure id=\"attachment_13937762\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-28-BL-KQED.jpg\" alt=\"A person wearing a baseball cap stands at a table under fluorescent lighting.\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13937762\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-28-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-28-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-28-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-28-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-28-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-28-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-28-BL-KQED-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">DJ Qbert will lend his eye-popping turntable skills to benefit the Daly City Library. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.eventbrite.com/e/dcplas-art-lit-fest-tickets-1478982208599?aff=ebdssbdestsearch\">Daly City Public Library’s Art & Lit Fest\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Sept. 27\u003c/i>\u003cbr>\n\u003ci>Serramonte Center, Daly City\u003c/i>\u003c/p>\n\u003cp>At this day-long celebration of reading, art, poetry and music, \u003ca href=\"https://koit.com/shows/freska/\">96.5 KOIT radio show host Freska\u003c/a>,\u003ca href=\"https://www.instagram.com/djajaxsf/?hl=en\"> DJ Ajax\u003c/a> and world-renowned \u003ca href=\"https://www.djqbert.com/\">DJ QBert\u003c/a> are scheduled attractions. The free, all-ages event doubles as a fundraiser for the Daly City Public Library. \u003c/p>\n\u003ch2>\u003ca href=\"https://www.folsomstreet.org/folsom-street-fair\">Folsom Street Fair\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Sept. 28\u003c/i>\u003cbr>\n\u003ci>Folsom Street, San Francisco\u003c/i>\u003c/p>\n\u003cp>For some, art is a matter of what you’re wearing (or not wearing). The Folsom Street Fair (pro tip: don’t try to bring children) celebrates leather, bondage and the liberating act of letting the sun shine where the sun doesn’t shine. \u003c/p>\n\u003ch2>\u003ca href=\"https://youtu.be/sshhb5ISHvI?si=PelIllKibSJTWDbQ\">Oktoberfest\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Throughout October\u003c/i>\u003cbr>\n\u003ci>Various locations\u003c/i> \u003c/p>\n\u003cp>Lederhosen! Tubas! And most importantly: beer! \u003ca href=\"https://www.oaktoberfest.org/\">Oakland’s “Oaktoberfest”\u003c/a> takes place on Oct. 4 and Sunday Oct. 5 East Oakland’s Dimond District. On the peninsula,\u003ca href=\"https://www.mvoktoberfest.com/\"> Mountain View’s Oktoberfest\u003c/a> is the following weekend, Oct. 11 and 12. And if you’re in the South Bay,\u003ca href=\"https://campbelloktoberfest.com/\"> Campbell’s Oktoberfest\u003c/a> is Oct. 18 and 19. \u003c/p>\n\u003cfigure id=\"attachment_13980417\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/241005-OaklandBlackCowboyParade-019-BL.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13980417\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/241005-OaklandBlackCowboyParade-019-BL.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/241005-OaklandBlackCowboyParade-019-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/241005-OaklandBlackCowboyParade-019-BL-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/241005-OaklandBlackCowboyParade-019-BL-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jaelah (left), 12, a member of the Blue Bird Riders from Manteca, rides with her friend Aniyah, 13, during the Oakland Black Cowboy Association parade in Oakland on Oct. 5, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.oaklandbca.org/\">Oakland’s Black Cowboy Parade\u003c/a> / \u003ca href=\"https://lifeisliving.org/\">Life Is Living Festival\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Oct. 4 and Oct. 11\u003c/i>\u003cbr>\n\u003ci>Little Bobby Hutton Park, Oakland\u003c/i>\u003c/p>\n\u003cp>After celebrating its 50 anniversary last year,\u003ca href=\"https://www.kqed.org/news/12008139/oaklands-black-cowboy-association-celebrates-50-years-with-parade-and-festival\"> the Oakland Black Cowboy Association\u003c/a> returns for its annual parade, with food vendors, dancers, tales of Black history and pony rides. The following Saturday sees the return of the long-running \u003ca href=\"https://lifeisliving.org/\">Life Is Living Festival\u003c/a>, which starts with a Black Panthers free breakfast and includes live music, poetry, DJs and a historic Black Panther Party exhibition.\u003c/p>\n\u003ch2>\u003ca href=\"https://castrostreetfair.org/fair/\">The Castro Street Fair\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Oct. 5\u003c/i>\u003cbr>\n\u003ci>Castro Street, San Francisco\u003c/i>\u003c/p>\n\u003cp>Now in its 51st year, this celebration of community and resilience takes over the Castro for an event with all proceeds going to charitable causes. Live music, DJs, food, activities and more are heralded by Harvey Milk Plaza’s giant rainbow flag. \u003c/p>\n\u003ch2>\u003ca href=\"https://gardensatlakemerritt.org/autumn-lights-festival-2025/\">Autumn Lights Festival\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Oct. 16–18\u003c/i>\u003cbr>\n\u003ci>Lake Merritt, Oakland\u003c/i>\u003c/p>\n\u003cp>An event tailor-made for those who think art is best served in the form of colorfully illuminated lights decoratively placed in a garden — preferably in Oakland. \u003c/p>\n\u003ch2>\u003ca href=\"https://hmbpumpkinfest.com/\">Half Moon Bay Art & Pumpkin Festival\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Oct. 18–19\u003c/i>\u003cbr>\n\u003ci>Half Moon Bay\u003c/i>\u003c/p>\n\u003cp>The winner of last year’s world championship pumpkin weigh-off at this festival drove 32 hours\u003ca href=\"https://abc11.com/post/2471-pound-gourd-minnesota-wins-world-championship-pumpkin-weigh-off-california/15430625/\"> from Minnesota\u003c/a> with a pumpkin that measured over 7 feet tall and 20 feet around, and weighed \u003ca href=\"https://hmbweighoff.com/results.html\">2,471\u003c/a> pounds. Who will win this year? Find out at this year’s weekend event – and maybe even get a photo with the winner.\u003c/p>\n\u003cfigure id=\"attachment_13937469\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-37.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13937469\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-37.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-37-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-37-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-37-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-37-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231029_OAKDiadelosMuertosFestival_EG-37-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Sirena Covarrubias attends the Oakland Día de los Muertos Festival in Fruitvale on Sunday, Oct. 29, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://unitycouncil.org/program/diaoakland/\">Oakland’s Dia De Los Muertos Festival\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Nov. 2\u003c/i>\u003cbr>\n\u003ci>Fruitvale Village, Oakland\u003c/i>\u003c/p>\n\u003cp>Sugar skulls and marigolds are in great supply at this vibrant outdoor fair — and especially this year, as the event celebrates its 30th anniversary. \u003c/p>\n\u003cp>\u003cb>Briefly Noted\u003c/b>\u003c/p>\n\u003cp>\u003ca href=\"https://sfcheesefest.com/\">SF Cheese Fest\u003c/a> (Sept. 13; San Francisco)\u003c/p>\n\u003cp>\u003ca href=\"https://www.eventbrite.com/e/filipino-island-fest-tickets-1389794977189?aff=ebdssbdestsearch\">Filipino Island Fest\u003c/a> (Oct. 4; Alameda)\u003c/p>\n\u003cp>\u003ca href=\"https://fleetweeksf.org/\">Fleet Week\u003c/a> (Oct. 5–13; San Francisco)\u003c/p>\n\u003cp>\u003ca href=\"https://www.litquake.org/2024-festival\">Litquake\u003c/a> (Oct. 9–25; San Francisco)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.fallchocolatesalon.com/\">Fall Holiday Chocolate Salon and Festival\u003c/a> (Nov. 23; San Francisco)\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13980403/best-festivals-outdoor-block-parties-food-fun-bay-area-2025",
"authors": [
"11491"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_69"
],
"tags": [
"arts_3547",
"arts_2854",
"arts_22551",
"arts_22068",
"arts_22092",
"arts_1143",
"arts_4200",
"arts_585"
],
"featImg": "arts_13980422",
"label": "source_arts_13980403"
},
"arts_13979695": {
"type": "posts",
"id": "arts_13979695",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13979695",
"score": null,
"sort": [
1754935949000
]
},
"guestAuthors": [],
"slug": "worst-film-festival-oakland",
"title": "In Oakland, a ‘Worst Film Festival’ Redefines Filmmaking Failures",
"publishDate": 1754935949,
"format": "standard",
"headTitle": "In Oakland, a ‘Worst Film Festival’ Redefines Filmmaking Failures | KQED",
"labelTerm": {},
"content": "\u003cp>Picture yourself in front of a classroom, sharing your homework, and explaining how you got all of the answers \u003cem>wrong\u003c/em>. Imagine being vulnerable enough to admit failure and own your shortcomings; not for the sake of embarrassment, but for the enlightenment of your fellow students.\u003c/p>\n\u003cp>Now imagine that you’re not talking about math or science — you’re discussing cinema. And instead of a classroom, it’s a film festival.\u003c/p>\n\u003cp>That’s the idea behind \u003ca href=\"https://www.theworstfilmfest.com/\" target=\"_blank\" rel=\"noopener\">The Worst Film Fest\u003c/a>, a celebration of indie flops at West Oakland’s \u003ca href=\"https://www.mamadogstudios.com/\">Mama Dog Studios\u003c/a> on Thursday, Aug. 28.\u003c/p>\n\u003cp>The festival’s trio of founders, \u003ca href=\"https://www.cherylisaacson.com/?fbclid=PAZXh0bgNhZW0CMTEAAadP5woDH6YWt1kK6lSCJIqr8jOsEGOcwbRYd0HsAaMxSP8yf3tT1ZCwo9oe8w_aem_TulkmgnylHlGWfzLOrRFZQ\" target=\"_blank\" rel=\"noopener\">Cheryl Isaacson\u003c/a>, \u003ca href=\"https://www.kerensouthall.com/\" target=\"_blank\" rel=\"noopener\">Keren Southall\u003c/a> and \u003ca href=\"https://www.imdb.com/name/nm5910066/\" target=\"_blank\" rel=\"noopener\">Danielle Cheifetz\u003c/a>, are collectively (and affectionately) referred to as “The Worst Board of Directors.” During last year’s inaugural event, it didn’t take long before they realized they were on to something.\u003c/p>\n\u003cfigure id=\"attachment_13979704\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13979704 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Copy-of-20240829-TheWorstFilmFestival-mrz-177-2000x1333.jpg\" alt=\"People sitting on a panel in front of a captive audience. Behind the panel are the letters TWFF on a screen, an acronym for The Worst Film Fest.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Copy-of-20240829-TheWorstFilmFestival-mrz-177-2000x1333.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Copy-of-20240829-TheWorstFilmFestival-mrz-177-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Copy-of-20240829-TheWorstFilmFestival-mrz-177-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Copy-of-20240829-TheWorstFilmFestival-mrz-177-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Copy-of-20240829-TheWorstFilmFestival-mrz-177-2048x1365.jpg 2048w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Panelists dissect their filmmaking failures at The Worst Film Fest in Oakland. \u003ccite>(Maurice Ramirez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Everybody has some project that they learned from, that didn’t meet their expectations for one reason or another,” says Cheifetz, event co-founder and film producer, during a video call. She explains that the festival gives filmmakers a unique opportunity to showcase their blunders in order to grow together. “It makes us all better,” she says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Just about every aspect of the event flips the traditional festival format on its head. Those whose submissions get selected receive a notice that reads “we happily regret to inform you” their work has been chosen.\u003c/p>\n\u003cp>Throughout the event there’s examination of the language of failure, as well as reimagining what a supportive creative community looks like for professional filmmakers.\u003c/p>\n\u003cp>[aside postID='arts_13977398']On the night of the festival, attendees view short film clips, none of them longer than four minutes. Between the blocks of films, directors, producers and actors dissect aspects of moviemaking gone awry.\u003c/p>\n\u003cp>The audience also gets insight from recognized storytellers. Last year’s guest of honor was Boots Riley, director of the film \u003cem>Sorry To Bother You\u003c/em> and the series \u003cem>I’m A Virgo\u003c/em>.\u003c/p>\n\u003cp>Three awards are given out during the event, including one voted on by audience members that includes a portion of the event’s proceeds for filmmakers who have a convincing work in progress. It’s called the “Has Potential Award.”\u003c/p>\n\u003cp>“This is filmmaker-forward,” says Isaacson, noting that the goal of the event isn’t to make anyone’s work the butt of a joke. It’s also far from a parody show like the \u003ca href=\"https://en.wikipedia.org/wiki/Golden_Raspberry_Awards\" target=\"_blank\" rel=\"noopener\">Golden Raspberry Awards\u003c/a>. Isaacson, a film director herself, makes it clear: “This is by filmmakers, and for filmmakers.”\u003c/p>\n\u003cp>Once people hear the story of how it started, she says, they understand that it’s about community and vulnerability.\u003c/p>\n\u003cfigure id=\"attachment_13979722\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13979722 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Copy-of-20240829-TheWorstFilmFestival-mrz-104-2000x1333.jpg\" alt=\"A dark room full of audience members focus on one person standing on stage with a microphone.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Copy-of-20240829-TheWorstFilmFestival-mrz-104-2000x1333.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Copy-of-20240829-TheWorstFilmFestival-mrz-104-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Copy-of-20240829-TheWorstFilmFestival-mrz-104-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Copy-of-20240829-TheWorstFilmFestival-mrz-104-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Copy-of-20240829-TheWorstFilmFestival-mrz-104-2048x1365.jpg 2048w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Oakland’s Keren Southall stands on stage at the inaugural gathering for The Worst Film Fest in 2024. \u003ccite>(Maurice Ramirez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Isaacson refers back to a 2024 meeting between the founding trio, where one of them asked the others, “Want to see the worst thing I’ve ever done?”\u003c/p>\n\u003cp>The three started sharing film clips they’d promised would never see the light of day. “Turns out the three of us have some pretty embarrassing stuff,” Isaacson says, adding that “we just couldn’t stop laughing.”\u003c/p>\n\u003cp>As they gave feedback to each other and reflected on their experiences, a miniature rendition of the festival began taking place. “We kind of looked at each other jokingly,” says Isaacson, “and said: ‘Oh, this actually is the festival we need.'”\u003c/p>\n\u003cp>Southall, an actor and producer, wondered if it was possible to create “this little vulnerable pocket” for other filmmakers in a short period of time. Collectively working as volunteers, they started planning in April of 2024 and held a successful event four months later.\u003c/p>\n\u003cp>[aside postID='arts_13978142']“Filmmakers actually showed us their worst work,” Southall remarks, still slightly surprised. “There was really truly something magical that happened that first time around,” she says. “Filmmakers totally understood the process.”\u003c/p>\n\u003cp>In a world where artists are usually buttoned-up and primed to put their best foot forward, Cheifetz says doing the inverse oddly makes sense.\u003c/p>\n\u003cp>“My worst project is one of the projects that I had the most fun working on,” she says, reflecting on the longstanding connections she’s made over the course of failed productions. “Just because it’s your worst and isn’t something you initially might want to show other professionals, it’s still something that, as filmmakers, brings out our passions,” she says. “And we still love to do it even when it is our worst.”\u003c/p>\n\u003cp>At the festival, the term “worst” is a self-determined status. Some filmmakers have completely botched scenes, while others have struggled to land distribution deals. There’s levels to “failure.”\u003c/p>\n\u003cp>With that in mind, Southall notes the importance of establishing a tone of respect during the event. Last year, the team did that by boldly displaying their own movie mistakes.\u003c/p>\n\u003cp>[aside postID='arts_13979158']“We actually had an LED wall, which we will have again at this year’s fest, showcasing our first three projects,” says Southall. “When filmmakers come in, they can see a display of our worst work on the side,” she says. “That way we can be just as vulnerable as they are.”\u003c/p>\n\u003cp>Last year’s event welcomed indie filmmakers and representatives from collectives like \u003ca href=\"https://www.makeitbay.org/\" target=\"_blank\" rel=\"noopener\">#MakeItBay\u003c/a>, \u003ca href=\"https://cinemamafilm.com/\" target=\"_blank\" rel=\"noopener\">Cinemama\u003c/a> and other organizations. Cheifetz noticed that by reframing the idea of “failure,” it aided the process of not only filmmaking, but community building.\u003c/p>\n\u003cp>“It takes a little bit of the networking and socialization pressure off when you don’t have that fear just hanging over you,” she says. “And when all of that weight is lifted, then it’s just a breath of fresh air and a chance to just be real.”\u003c/p>\n\u003cp>Now with support from \u003ca href=\"https://url.us.m.mimecastprotect.com/s/ef2jC0R94PI4kN7LCwfAi9VVQW?domain=mamadogstudios.com\" target=\"_blank\" rel=\"noopener noreferrer\">Mama Dog Studios,\u003c/a> as well as \u003ca href=\"https://www.littlegiantlighting.com/\">The Little Giant Lighting & Grip Co.\u003c/a>, \u003ca href=\"https://oaklandunitedbeerworks.com/\">Oakland United Beerworks\u003c/a> and the longstanding Northern Californian production services supply company \u003ca href=\"https://www.ranahan.com/\" target=\"_blank\" rel=\"noopener\">Ranahan\u003c/a>, this year the team is looking for more of the magic they experienced last year.\u003c/p>\n\u003cp>A safe classroom, where students get critical yet careful feedback, and “failure” is used as a teaching tool; a place where highlighting an individual’s “worst” is a part of making the larger collective better. Imagine if all schools were like that?\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>The Worst Film Fest takes place Thursday, Aug. 28, at Mama Dog Studios (700 26th Street, Oakland). \u003ca href=\"https://www.theworstfilmfest.com/\" target=\"_blank\" rel=\"noopener\">Tickets and more information here\u003c/a>. \u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "Filmmakers screen their shortcomings for the betterment of all at the Worst Film Festival in Oakland. ",
"status": "publish",
"parent": 0,
"modified": 1754937793,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 29,
"wordCount": 1166
},
"headData": {
"title": "The ‘Worst Film Festival’ Redefines Filmmaking Failures | KQED",
"description": "Filmmakers screen their shortcomings for the betterment of all at the Worst Film Festival in Oakland. ",
"ogTitle": "In Oakland, a ‘Worst Film Festival’ Redefines Filmmaking Failures",
"ogDescription": "",
"ogImgId": "",
"twTitle": "In Oakland, a ‘Worst Film Festival’ Redefines Filmmaking Failures",
"twDescription": "",
"twImgId": "",
"socialTitle": "The ‘Worst Film Festival’ Redefines Filmmaking Failures %%page%% %%sep%% KQED",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "In Oakland, a ‘Worst Film Festival’ Redefines Filmmaking Failures",
"datePublished": "2025-08-11T11:12:29-07:00",
"dateModified": "2025-08-11T11:43:13-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"primaryCategory": {
"termId": 1,
"slug": "arts",
"name": "Arts"
},
"source": "The Do List",
"sourceUrl": "https://www.kqed.org/thedolist",
"sticky": false,
"nprStoryId": "kqed-13979695",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/13979695/worst-film-festival-oakland",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Picture yourself in front of a classroom, sharing your homework, and explaining how you got all of the answers \u003cem>wrong\u003c/em>. Imagine being vulnerable enough to admit failure and own your shortcomings; not for the sake of embarrassment, but for the enlightenment of your fellow students.\u003c/p>\n\u003cp>Now imagine that you’re not talking about math or science — you’re discussing cinema. And instead of a classroom, it’s a film festival.\u003c/p>\n\u003cp>That’s the idea behind \u003ca href=\"https://www.theworstfilmfest.com/\" target=\"_blank\" rel=\"noopener\">The Worst Film Fest\u003c/a>, a celebration of indie flops at West Oakland’s \u003ca href=\"https://www.mamadogstudios.com/\">Mama Dog Studios\u003c/a> on Thursday, Aug. 28.\u003c/p>\n\u003cp>The festival’s trio of founders, \u003ca href=\"https://www.cherylisaacson.com/?fbclid=PAZXh0bgNhZW0CMTEAAadP5woDH6YWt1kK6lSCJIqr8jOsEGOcwbRYd0HsAaMxSP8yf3tT1ZCwo9oe8w_aem_TulkmgnylHlGWfzLOrRFZQ\" target=\"_blank\" rel=\"noopener\">Cheryl Isaacson\u003c/a>, \u003ca href=\"https://www.kerensouthall.com/\" target=\"_blank\" rel=\"noopener\">Keren Southall\u003c/a> and \u003ca href=\"https://www.imdb.com/name/nm5910066/\" target=\"_blank\" rel=\"noopener\">Danielle Cheifetz\u003c/a>, are collectively (and affectionately) referred to as “The Worst Board of Directors.” During last year’s inaugural event, it didn’t take long before they realized they were on to something.\u003c/p>\n\u003cfigure id=\"attachment_13979704\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13979704 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Copy-of-20240829-TheWorstFilmFestival-mrz-177-2000x1333.jpg\" alt=\"People sitting on a panel in front of a captive audience. Behind the panel are the letters TWFF on a screen, an acronym for The Worst Film Fest.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Copy-of-20240829-TheWorstFilmFestival-mrz-177-2000x1333.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Copy-of-20240829-TheWorstFilmFestival-mrz-177-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Copy-of-20240829-TheWorstFilmFestival-mrz-177-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Copy-of-20240829-TheWorstFilmFestival-mrz-177-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Copy-of-20240829-TheWorstFilmFestival-mrz-177-2048x1365.jpg 2048w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Panelists dissect their filmmaking failures at The Worst Film Fest in Oakland. \u003ccite>(Maurice Ramirez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Everybody has some project that they learned from, that didn’t meet their expectations for one reason or another,” says Cheifetz, event co-founder and film producer, during a video call. She explains that the festival gives filmmakers a unique opportunity to showcase their blunders in order to grow together. “It makes us all better,” she says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Just about every aspect of the event flips the traditional festival format on its head. Those whose submissions get selected receive a notice that reads “we happily regret to inform you” their work has been chosen.\u003c/p>\n\u003cp>Throughout the event there’s examination of the language of failure, as well as reimagining what a supportive creative community looks like for professional filmmakers.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13977398",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>On the night of the festival, attendees view short film clips, none of them longer than four minutes. Between the blocks of films, directors, producers and actors dissect aspects of moviemaking gone awry.\u003c/p>\n\u003cp>The audience also gets insight from recognized storytellers. Last year’s guest of honor was Boots Riley, director of the film \u003cem>Sorry To Bother You\u003c/em> and the series \u003cem>I’m A Virgo\u003c/em>.\u003c/p>\n\u003cp>Three awards are given out during the event, including one voted on by audience members that includes a portion of the event’s proceeds for filmmakers who have a convincing work in progress. It’s called the “Has Potential Award.”\u003c/p>\n\u003cp>“This is filmmaker-forward,” says Isaacson, noting that the goal of the event isn’t to make anyone’s work the butt of a joke. It’s also far from a parody show like the \u003ca href=\"https://en.wikipedia.org/wiki/Golden_Raspberry_Awards\" target=\"_blank\" rel=\"noopener\">Golden Raspberry Awards\u003c/a>. Isaacson, a film director herself, makes it clear: “This is by filmmakers, and for filmmakers.”\u003c/p>\n\u003cp>Once people hear the story of how it started, she says, they understand that it’s about community and vulnerability.\u003c/p>\n\u003cfigure id=\"attachment_13979722\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13979722 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Copy-of-20240829-TheWorstFilmFestival-mrz-104-2000x1333.jpg\" alt=\"A dark room full of audience members focus on one person standing on stage with a microphone.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Copy-of-20240829-TheWorstFilmFestival-mrz-104-2000x1333.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Copy-of-20240829-TheWorstFilmFestival-mrz-104-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Copy-of-20240829-TheWorstFilmFestival-mrz-104-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Copy-of-20240829-TheWorstFilmFestival-mrz-104-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Copy-of-20240829-TheWorstFilmFestival-mrz-104-2048x1365.jpg 2048w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Oakland’s Keren Southall stands on stage at the inaugural gathering for The Worst Film Fest in 2024. \u003ccite>(Maurice Ramirez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Isaacson refers back to a 2024 meeting between the founding trio, where one of them asked the others, “Want to see the worst thing I’ve ever done?”\u003c/p>\n\u003cp>The three started sharing film clips they’d promised would never see the light of day. “Turns out the three of us have some pretty embarrassing stuff,” Isaacson says, adding that “we just couldn’t stop laughing.”\u003c/p>\n\u003cp>As they gave feedback to each other and reflected on their experiences, a miniature rendition of the festival began taking place. “We kind of looked at each other jokingly,” says Isaacson, “and said: ‘Oh, this actually is the festival we need.'”\u003c/p>\n\u003cp>Southall, an actor and producer, wondered if it was possible to create “this little vulnerable pocket” for other filmmakers in a short period of time. Collectively working as volunteers, they started planning in April of 2024 and held a successful event four months later.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13978142",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>“Filmmakers actually showed us their worst work,” Southall remarks, still slightly surprised. “There was really truly something magical that happened that first time around,” she says. “Filmmakers totally understood the process.”\u003c/p>\n\u003cp>In a world where artists are usually buttoned-up and primed to put their best foot forward, Cheifetz says doing the inverse oddly makes sense.\u003c/p>\n\u003cp>“My worst project is one of the projects that I had the most fun working on,” she says, reflecting on the longstanding connections she’s made over the course of failed productions. “Just because it’s your worst and isn’t something you initially might want to show other professionals, it’s still something that, as filmmakers, brings out our passions,” she says. “And we still love to do it even when it is our worst.”\u003c/p>\n\u003cp>At the festival, the term “worst” is a self-determined status. Some filmmakers have completely botched scenes, while others have struggled to land distribution deals. There’s levels to “failure.”\u003c/p>\n\u003cp>With that in mind, Southall notes the importance of establishing a tone of respect during the event. Last year, the team did that by boldly displaying their own movie mistakes.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13979158",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>“We actually had an LED wall, which we will have again at this year’s fest, showcasing our first three projects,” says Southall. “When filmmakers come in, they can see a display of our worst work on the side,” she says. “That way we can be just as vulnerable as they are.”\u003c/p>\n\u003cp>Last year’s event welcomed indie filmmakers and representatives from collectives like \u003ca href=\"https://www.makeitbay.org/\" target=\"_blank\" rel=\"noopener\">#MakeItBay\u003c/a>, \u003ca href=\"https://cinemamafilm.com/\" target=\"_blank\" rel=\"noopener\">Cinemama\u003c/a> and other organizations. Cheifetz noticed that by reframing the idea of “failure,” it aided the process of not only filmmaking, but community building.\u003c/p>\n\u003cp>“It takes a little bit of the networking and socialization pressure off when you don’t have that fear just hanging over you,” she says. “And when all of that weight is lifted, then it’s just a breath of fresh air and a chance to just be real.”\u003c/p>\n\u003cp>Now with support from \u003ca href=\"https://url.us.m.mimecastprotect.com/s/ef2jC0R94PI4kN7LCwfAi9VVQW?domain=mamadogstudios.com\" target=\"_blank\" rel=\"noopener noreferrer\">Mama Dog Studios,\u003c/a> as well as \u003ca href=\"https://www.littlegiantlighting.com/\">The Little Giant Lighting & Grip Co.\u003c/a>, \u003ca href=\"https://oaklandunitedbeerworks.com/\">Oakland United Beerworks\u003c/a> and the longstanding Northern Californian production services supply company \u003ca href=\"https://www.ranahan.com/\" target=\"_blank\" rel=\"noopener\">Ranahan\u003c/a>, this year the team is looking for more of the magic they experienced last year.\u003c/p>\n\u003cp>A safe classroom, where students get critical yet careful feedback, and “failure” is used as a teaching tool; a place where highlighting an individual’s “worst” is a part of making the larger collective better. Imagine if all schools were like that?\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>The Worst Film Fest takes place Thursday, Aug. 28, at Mama Dog Studios (700 26th Street, Oakland). \u003ca href=\"https://www.theworstfilmfest.com/\" target=\"_blank\" rel=\"noopener\">Tickets and more information here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13979695/worst-film-festival-oakland",
"authors": [
"11491"
],
"categories": [
"arts_1",
"arts_74",
"arts_22313"
],
"tags": [
"arts_1201",
"arts_1143",
"arts_585"
],
"featImg": "arts_13979703",
"label": "source_arts_13979695"
},
"arts_13979516": {
"type": "posts",
"id": "arts_13979516",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13979516",
"score": null,
"sort": [
1754506440000
]
},
"guestAuthors": [],
"slug": "international-deaf-dance-festival-antoine-hunter-urban-jazz-dance",
"title": "At the International Deaf Dance Festival, Access and Expression Take Center Stage",
"publishDate": 1754506440,
"format": "standard",
"headTitle": "At the International Deaf Dance Festival, Access and Expression Take Center Stage | KQED",
"labelTerm": {},
"content": "\u003cp>\u003cem>“There’s tension… feel the tension… then drop it! Then from there we embrace, then let it go… then we try it again. Again.”\u003c/em>\u003c/p>\n\u003cp>Inside the rehearsal room, \u003ca href=\"https://www.kqed.org/arts/11899367/antoine-hunter-empowers-deaf-community-through-dance\">Antoine Hunter\u003c/a>’s instructions guide dancers as they sync beating hearts with stomping feet, sweat gliding over sinew while they tug at a prop — a thick, colorful rope. Outside the rehearsal room, his words are an allegory for life. For the deaf, finding community and harmony in an imperfect world is a constant pursuit.\u003c/p>\n\u003cp>Hunter’s Urban Jazz Dance Company, which he founded 18 years ago, brings these realities to the stage at the \u003ca href=\"https://www.realurbanjazzdance.com/2025baiddf.html\">Bay Area International Deaf Dance Festival\u003c/a>, a platform he launched in 2013 for deaf and hard-of-hearing artists. This year’s program, running Aug. 8–10 at the Dance Mission Theater in San Francisco, features ten dance companies, including groups from Colombia, Botswana and Jamaica.\u003c/p>\n\u003cfigure id=\"attachment_13979539\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979539\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/250803-DEAFDANCEFESTIVAL_00153_TV-KQED.jpg\" alt=\"A white woman in a blue tank top and a Black man in jeans pose on a dark wooden stairwell, looking at the camera\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/250803-DEAFDANCEFESTIVAL_00153_TV-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/250803-DEAFDANCEFESTIVAL_00153_TV-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/250803-DEAFDANCEFESTIVAL_00153_TV-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/250803-DEAFDANCEFESTIVAL_00153_TV-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Assistant director of Urban Jazz Dance Company, Zahna Simon, (left) and founder Antoine Hunter (right) pose for a portrait at Shawl-Anderson Dance Center in Berkeley on Aug. 3, 2025. \u003ccite>(Tâm Vũ/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hunter’s company, which he runs with assistant director Zahna Simon, will perform a piece choreographed to highlight the systemic lack of access to education among deaf, disabled and BIPOC children. The performance, excerpted from a longer piece due to premiere this fall, is based on real stories from conversations Hunter has been having with parents, educators and lawyers.\u003c/p>\n\u003cp>A few months ago, Hunter was invited to participate in a private family discussion about an incident involving a Black, \u003ca href=\"https://www.clarkeschools.org/clarke-speaks-up/deaf-plus/\">deaf plus\u003c/a> child in Oakland — Hunter’s own home turf.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Sometimes children have breakdowns; what they need is communication access, they need support, but because this was a Black child, most white officials who were trying to interact with this deaf plus child didn’t have ways to communicate,” said Hunter. Ultimately, because the boy wasn’t able to calm down, someone called the police, who arrived and confronted him — a familiar case of villainizing the victim.\u003c/p>\n\u003cfigure id=\"attachment_13979534\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979534\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/250720-DEAFDANCEFESTIVAL_01323_TV-KQED.jpg\" alt=\"A Black man in a burnt sienna top, purple one-piece and patterned headwrap leans against the barre and watches dancers who are spread about a rehearsal space.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/250720-DEAFDANCEFESTIVAL_01323_TV-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/250720-DEAFDANCEFESTIVAL_01323_TV-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/250720-DEAFDANCEFESTIVAL_01323_TV-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/250720-DEAFDANCEFESTIVAL_01323_TV-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Antoine Hunter, founder and leader of Urban Jazz Dance Company, watches dancers rehearse at a rehearsal at Shawl-Anderson Dance Center in Berkeley on July 20, 2025. \u003ccite>(Tâm Vũ/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Besides Hunter and the boy’s family, also present at the aftermath discussion were a lawyer, a school principal, an interpreter and the police.\u003c/p>\n\u003cp>“It really feels very frustrating because at some point everyone in that circle was talking about that child as if that child is an item. A child is not an item, a child is a child. It was just so frustrating, \u003cem>frustrating\u003c/em>…” he said.\u003c/p>\n\u003cp>He chose to alchemize his frustration into art. “I asked permission to connect this to our dance,” he said. “When we see issues within the community, we want to find a way to dismantle that… through dance. Dance is powerful, it has the power to bring the community together, it heals the community as a whole.”\u003c/p>\n\u003cfigure id=\"attachment_13979536\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979536\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/250720-DEAFDANCEFESTIVAL_01531_TV-KQED.jpg\" alt=\"A Black man in a burnt sienna top, purple one-piece and patterned headwrap gestures to four dancers who are spread about a rehearsal space.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/250720-DEAFDANCEFESTIVAL_01531_TV-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/250720-DEAFDANCEFESTIVAL_01531_TV-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/250720-DEAFDANCEFESTIVAL_01531_TV-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/250720-DEAFDANCEFESTIVAL_01531_TV-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Antoine Hunter (center), founder and leader of Urban Jazz Dance Company, coaches fellow hard of hearing dancers using sign language at rehearsal at Shawl-Anderson Dance Center in Berkeley on July 20, 2025. \u003ccite>(Tâm Vũ/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hunter actively advocates for the rights of the deaf in different contexts — in prisons, in hospitals, among refugees — and is in contact with organizations that share his goals, like the ACLU (American Civil Liberties Union), HEARD (Helping Educate to Advance the Rights of the Deaf) and LEAD-K (Language Equality and Acquisition for Deaf Kids).\u003c/p>\n\u003cp>Recently, he has been reckoning with the government’s ongoing hostility towards the arts, the humanities and collectives like his, built on values like equity, diversity, identity and cultural pluralism. Hunter himself identifies as deaf, disabled, African-American, Indigenous — Cherokee and Blackfoot — and Two-Spirit.\u003c/p>\n\u003cp>Last year, his dance company held a camp for deaf and hard of hearing families at Yosemite. “We were hoping to do that this year, but we were notified on January 19 that that funding has been cut,” he said. The camp will take place at the Presidio instead. “We’ve got to make it happen without support.”\u003c/p>\n\u003cfigure id=\"attachment_13979538\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979538\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/250720-DEAFDANCEFESTIVAL_01729_TV-KQED.jpg\" alt=\"Seen fron the waist below, three dancers stand on a dance floor in synchronized leg movement, with the right leg bent and the foot just under the knee.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/250720-DEAFDANCEFESTIVAL_01729_TV-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/250720-DEAFDANCEFESTIVAL_01729_TV-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/250720-DEAFDANCEFESTIVAL_01729_TV-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/250720-DEAFDANCEFESTIVAL_01729_TV-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Kelly Garrett, Zahna Simon and Jerald Appling practice a dance routine together at rehearsal at Shawl-Anderson Dance Center in Berkeley on July 20, 2025. \u003ccite>(Tâm Vũ/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The deaf community, he said, is concerned about Medicaid cuts, and that the rising cost of living might render interpreters unaffordable. Consequently, deaf people will lose access, perpetuating the very problem his troupe seeks to dismantle through dance.\u003c/p>\n\u003cp>Despite everything, the idea of deafness as culture — not as disability — is growing. As an example, Hunter cites \u003cem>Sinners\u003c/em>, the box-office smash recently released on streaming with \u003ca href=\"https://www.hollywoodreporter.com/movies/movie-news/sinners-black-american-sign-language-basl-version-on-max-1236302908/\">an option to watch with Black American Sign Language\u003c/a>, a dialect with its own unique rhythm.\u003c/p>\n\u003cp>All in all, Hunter wants this weekend’s festival to convey one simple message: “We’re more than just deaf.”\u003c/p>\n\u003chr>\n\u003cp>\u003cem>The 13th Annual \u003ca href=\"https://www.realurbanjazzdance.com/2025baiddf.html\">Bay Area International Deaf Dance Festival\u003c/a> runs Aug. 8-10 at Dance Mission Theater (3316 24th St., San Francisco).\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>KQED interviewed Antoine Hunter with the help of an ASL interpreter. \u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "For the Antoine Hunter’s Urban Jazz Dance Company, every movement has a story to tell.\r\n",
"status": "publish",
"parent": 0,
"modified": 1755193822,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 19,
"wordCount": 909
},
"headData": {
"title": "At the International Deaf Dance Festival, Access and Expression Take Center Stage | KQED",
"description": "For the Antoine Hunter’s Urban Jazz Dance Company, every movement has a story to tell.\r\n",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "At the International Deaf Dance Festival, Access and Expression Take Center Stage",
"datePublished": "2025-08-06T11:54:00-07:00",
"dateModified": "2025-08-14T10:50:22-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"primaryCategory": {
"termId": 1,
"slug": "arts",
"name": "Arts"
},
"source": "The Do List",
"sourceUrl": "https://www.kqed.org/thedolist",
"sticky": false,
"nprByline": "Ashwini Gangal",
"nprStoryId": "kqed-13979516",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"path": "/arts/13979516/international-deaf-dance-festival-antoine-hunter-urban-jazz-dance",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>“There’s tension… feel the tension… then drop it! Then from there we embrace, then let it go… then we try it again. Again.”\u003c/em>\u003c/p>\n\u003cp>Inside the rehearsal room, \u003ca href=\"https://www.kqed.org/arts/11899367/antoine-hunter-empowers-deaf-community-through-dance\">Antoine Hunter\u003c/a>’s instructions guide dancers as they sync beating hearts with stomping feet, sweat gliding over sinew while they tug at a prop — a thick, colorful rope. Outside the rehearsal room, his words are an allegory for life. For the deaf, finding community and harmony in an imperfect world is a constant pursuit.\u003c/p>\n\u003cp>Hunter’s Urban Jazz Dance Company, which he founded 18 years ago, brings these realities to the stage at the \u003ca href=\"https://www.realurbanjazzdance.com/2025baiddf.html\">Bay Area International Deaf Dance Festival\u003c/a>, a platform he launched in 2013 for deaf and hard-of-hearing artists. This year’s program, running Aug. 8–10 at the Dance Mission Theater in San Francisco, features ten dance companies, including groups from Colombia, Botswana and Jamaica.\u003c/p>\n\u003cfigure id=\"attachment_13979539\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979539\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/250803-DEAFDANCEFESTIVAL_00153_TV-KQED.jpg\" alt=\"A white woman in a blue tank top and a Black man in jeans pose on a dark wooden stairwell, looking at the camera\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/250803-DEAFDANCEFESTIVAL_00153_TV-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/250803-DEAFDANCEFESTIVAL_00153_TV-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/250803-DEAFDANCEFESTIVAL_00153_TV-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/250803-DEAFDANCEFESTIVAL_00153_TV-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Assistant director of Urban Jazz Dance Company, Zahna Simon, (left) and founder Antoine Hunter (right) pose for a portrait at Shawl-Anderson Dance Center in Berkeley on Aug. 3, 2025. \u003ccite>(Tâm Vũ/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hunter’s company, which he runs with assistant director Zahna Simon, will perform a piece choreographed to highlight the systemic lack of access to education among deaf, disabled and BIPOC children. The performance, excerpted from a longer piece due to premiere this fall, is based on real stories from conversations Hunter has been having with parents, educators and lawyers.\u003c/p>\n\u003cp>A few months ago, Hunter was invited to participate in a private family discussion about an incident involving a Black, \u003ca href=\"https://www.clarkeschools.org/clarke-speaks-up/deaf-plus/\">deaf plus\u003c/a> child in Oakland — Hunter’s own home turf.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Sometimes children have breakdowns; what they need is communication access, they need support, but because this was a Black child, most white officials who were trying to interact with this deaf plus child didn’t have ways to communicate,” said Hunter. Ultimately, because the boy wasn’t able to calm down, someone called the police, who arrived and confronted him — a familiar case of villainizing the victim.\u003c/p>\n\u003cfigure id=\"attachment_13979534\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979534\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/250720-DEAFDANCEFESTIVAL_01323_TV-KQED.jpg\" alt=\"A Black man in a burnt sienna top, purple one-piece and patterned headwrap leans against the barre and watches dancers who are spread about a rehearsal space.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/250720-DEAFDANCEFESTIVAL_01323_TV-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/250720-DEAFDANCEFESTIVAL_01323_TV-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/250720-DEAFDANCEFESTIVAL_01323_TV-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/250720-DEAFDANCEFESTIVAL_01323_TV-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Antoine Hunter, founder and leader of Urban Jazz Dance Company, watches dancers rehearse at a rehearsal at Shawl-Anderson Dance Center in Berkeley on July 20, 2025. \u003ccite>(Tâm Vũ/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Besides Hunter and the boy’s family, also present at the aftermath discussion were a lawyer, a school principal, an interpreter and the police.\u003c/p>\n\u003cp>“It really feels very frustrating because at some point everyone in that circle was talking about that child as if that child is an item. A child is not an item, a child is a child. It was just so frustrating, \u003cem>frustrating\u003c/em>…” he said.\u003c/p>\n\u003cp>He chose to alchemize his frustration into art. “I asked permission to connect this to our dance,” he said. “When we see issues within the community, we want to find a way to dismantle that… through dance. Dance is powerful, it has the power to bring the community together, it heals the community as a whole.”\u003c/p>\n\u003cfigure id=\"attachment_13979536\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979536\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/250720-DEAFDANCEFESTIVAL_01531_TV-KQED.jpg\" alt=\"A Black man in a burnt sienna top, purple one-piece and patterned headwrap gestures to four dancers who are spread about a rehearsal space.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/250720-DEAFDANCEFESTIVAL_01531_TV-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/250720-DEAFDANCEFESTIVAL_01531_TV-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/250720-DEAFDANCEFESTIVAL_01531_TV-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/250720-DEAFDANCEFESTIVAL_01531_TV-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Antoine Hunter (center), founder and leader of Urban Jazz Dance Company, coaches fellow hard of hearing dancers using sign language at rehearsal at Shawl-Anderson Dance Center in Berkeley on July 20, 2025. \u003ccite>(Tâm Vũ/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hunter actively advocates for the rights of the deaf in different contexts — in prisons, in hospitals, among refugees — and is in contact with organizations that share his goals, like the ACLU (American Civil Liberties Union), HEARD (Helping Educate to Advance the Rights of the Deaf) and LEAD-K (Language Equality and Acquisition for Deaf Kids).\u003c/p>\n\u003cp>Recently, he has been reckoning with the government’s ongoing hostility towards the arts, the humanities and collectives like his, built on values like equity, diversity, identity and cultural pluralism. Hunter himself identifies as deaf, disabled, African-American, Indigenous — Cherokee and Blackfoot — and Two-Spirit.\u003c/p>\n\u003cp>Last year, his dance company held a camp for deaf and hard of hearing families at Yosemite. “We were hoping to do that this year, but we were notified on January 19 that that funding has been cut,” he said. The camp will take place at the Presidio instead. “We’ve got to make it happen without support.”\u003c/p>\n\u003cfigure id=\"attachment_13979538\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979538\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/250720-DEAFDANCEFESTIVAL_01729_TV-KQED.jpg\" alt=\"Seen fron the waist below, three dancers stand on a dance floor in synchronized leg movement, with the right leg bent and the foot just under the knee.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/250720-DEAFDANCEFESTIVAL_01729_TV-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/250720-DEAFDANCEFESTIVAL_01729_TV-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/250720-DEAFDANCEFESTIVAL_01729_TV-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/250720-DEAFDANCEFESTIVAL_01729_TV-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Kelly Garrett, Zahna Simon and Jerald Appling practice a dance routine together at rehearsal at Shawl-Anderson Dance Center in Berkeley on July 20, 2025. \u003ccite>(Tâm Vũ/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The deaf community, he said, is concerned about Medicaid cuts, and that the rising cost of living might render interpreters unaffordable. Consequently, deaf people will lose access, perpetuating the very problem his troupe seeks to dismantle through dance.\u003c/p>\n\u003cp>Despite everything, the idea of deafness as culture — not as disability — is growing. As an example, Hunter cites \u003cem>Sinners\u003c/em>, the box-office smash recently released on streaming with \u003ca href=\"https://www.hollywoodreporter.com/movies/movie-news/sinners-black-american-sign-language-basl-version-on-max-1236302908/\">an option to watch with Black American Sign Language\u003c/a>, a dialect with its own unique rhythm.\u003c/p>\n\u003cp>All in all, Hunter wants this weekend’s festival to convey one simple message: “We’re more than just deaf.”\u003c/p>\n\u003chr>\n\u003cp>\u003cem>The 13th Annual \u003ca href=\"https://www.realurbanjazzdance.com/2025baiddf.html\">Bay Area International Deaf Dance Festival\u003c/a> runs Aug. 8-10 at Dance Mission Theater (3316 24th St., San Francisco).\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>KQED interviewed Antoine Hunter with the help of an ASL interpreter. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13979516/international-deaf-dance-festival-antoine-hunter-urban-jazz-dance",
"authors": [
"byline_arts_13979516"
],
"categories": [
"arts_1",
"arts_966",
"arts_235",
"arts_22313"
],
"tags": [
"arts_9693",
"arts_10278",
"arts_1143",
"arts_822",
"arts_585"
],
"featImg": "arts_13979537",
"label": "source_arts_13979516"
},
"arts_13979349": {
"type": "posts",
"id": "arts_13979349",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13979349",
"score": null,
"sort": [
1753991388000
]
},
"guestAuthors": [],
"slug": "anticon-history-doseone-jel-sole-alias-clouddead-odd-nosdam-oakland",
"title": "Remembering Anticon and Hip-Hop’s Reckoning With Weirdness",
"publishDate": 1753991388,
"format": "standard",
"headTitle": "Remembering Anticon and Hip-Hop’s Reckoning With Weirdness | KQED",
"labelTerm": {},
"content": "\u003cp>\u003cem>Editor’s note: This story is part of \u003c/em>\u003ca href=\"https://www.kqed.org/bayareahiphop\">That’s My Word\u003c/a>\u003cem>, an ongoing KQED series about \u003ca href=\"https://www.kqed.org/bayareahiphop\">Bay Area hip-hop\u003c/a> history.\u003c/em>\u003c/p>\n\u003cp>“While hip-hop was struggling to digest us, \u003ci>music\u003c/i> was accepting us,” said Adam Drucker, the rapper, producer and vocalist also known as Doseone, while telling me about the Anticon collective back in 2023. This was during the height of celebrations for hip-hop’s ostensible 50th anniversary, generating all-star concerts, award-show tributes and, in the Bay Area, \u003ca href=\"https://www.kqed.org/bayareahiphop\">\u003ci>That’s My Word\u003c/i>\u003c/a>, KQED’s ongoing initiative spotlighting the history of local hip-hop.\u003c/p>\n\u003cp>But it also inspired reflections about who’s traditionally considered part of that history, and who is often left out. For Doseone, a founding member of the iconoclastic Anticon collective in Oakland established by Tim “Sole” Holland and James “Pedestrian” Best in 1998, the moment generated complicated feelings.\u003c/p>\n\u003cp>“What you find out sometimes,” he told me, is that “if you make something exactly the way you want it because it’s never been done before, and it’s a little bit of that and a little bit of this, it’s a smaller group of people with a more refined palette [that appreciate it]. It doesn’t mean success. It doesn’t mean being included in lists. It doesn’t mean trophies. But it does \u003ci>exist\u003c/i>.”\u003c/p>\n\u003cfigure id=\"attachment_13979251\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250728-JELPRODUCERANTICON-05-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13979251\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250728-JELPRODUCERANTICON-05-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250728-JELPRODUCERANTICON-05-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250728-JELPRODUCERANTICON-05-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250728-JELPRODUCERANTICON-05-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jeff Logan, better known as the hip-hop producer Jel and co-founder of the Anticon label, sits at the mixing board at Wyldwood Studios in Berkeley on July 28, 2025. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Two years later, that feeling of being underappreciated has subsided. That may be due in part to the critical acclaim Doseone, who now lives in Colorado, has received for \u003ci>All Portrait, No Chorus\u003c/i>, released this year by popular New York label Backwoodz Studioz, making it Dose’s most high-profile album in years. (He’s also a video-game composer for popular games like \u003ci>Enter the Gungeon\u003c/i>.) Or the fact that onetime Anticon producer Jeffrey “Jel” Logan continues to work with a wide range of artists, from M. Sayyid of Antipop Consortium to indie pioneers \u003ca href=\"https://www.kqed.org/arts/13929861/latyrx-lateef-lyrics-born-solesides-quannum\">Latyrx\u003c/a>, all while DJing at local spots like the Berkeley vintage store B League. And last year, producer David “Odd Nosdam” Madson remastered \u003ci>cLOUDDEAD\u003c/i>, his 2001 album with Dose and Yoni “Why?” Wolf, for the San Francisco imprint Superior Viaduct. The collection of tracks, which shift between meandering singsong raps, yearning synth washes, and elliptical, poetic lyrics, have been cited as an inspiration by TV on the Radio and many others.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Listening to [Frank Ocean’s alt-R&B masterwork] \u003ci>Blonde\u003c/i>, there’s moments where I’m, like, this somehow feels like the \u003ci>cLOUDDEAD \u003c/i>feeling, the way things are stretched out and collage-y with the ambient parts,” says Odd Nosdam, the Berkeley-based producer whose evocative ambient loops helped define the project.\u003c/p>\n\u003cp>But even if the R&B enigma didn’t mainline \u003ci>cLOUDDEAD\u003c/i> excursions like “Bike” and “I Promise to Never Get Paint on My Glasses Again” before making \u003ci>Blonde\u003c/i>, it’s clear that in the early aughts, Anticon helped innovate a hard-to-define sound, still prominent today, that vacillates between lo-fi electronics, shoegaze-y dynamics, winsome singsong raps, and hip-hop breaks. They anticipated much of current popular music, from the “cloud rap” trend of the early 2010s buoyed by Bay acts like Lil B and Main Attrakionz to a certain incorporation of melody that continues to define modern rap. Perhaps they don’t get as much mainstream credit as others. But their peers have begun to understand Anticon’s singular place in the underground hip-hop canon.\u003c/p>\n\u003cfigure id=\"attachment_13979365\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/DoseOne_soundwave_2.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13979365\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/DoseOne_soundwave_2.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/DoseOne_soundwave_2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/DoseOne_soundwave_2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/DoseOne_soundwave_2-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">What started as Anticon’s fearless experimentation in underground rap “became so much more that that,” says Doseone, pictured. \u003ccite>(Don Hicks)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“You listen back to all that music, and there’s still really nothing else like it. It’s really original,” says Zack Kasten, who runs Handsmade Records in Oakland. He’s organizing an Aug. 2 memorial event for Dax Pierson, a musician and longtime friend of Anticon who passed away on Dec. 30, 2024, at the age of 54. Doseone and Jel will perform, as well as Paris-based rapper/producer Sayyid (who once lived in San Jose and worked with SF performance artists Survival Research Laboratories), rising Oakland producer Mars Kumari, and openers Golden Champagne and Flavored Sweatshirt. Proceeds go to Pierson’s life partner, Chuck Nanney.\u003c/p>\n\u003ch2>A cross-country coalescing\n\u003ch2>\n\u003c/h2>\u003c/h2>\u003cp>Anticon began as a Bay Area phenomenon. Its core seven members relocated from other parts of the country like Maine (Sole and Brendon “Alias” Whitney), Los Angeles (The Pedestrian), Cincinnati (Odd Nosdam and Yoni Wolf as well as Doseone, via New Jersey), and Chicago (Jel).\u003c/p>\n\u003cp>Each had a history of being the one white guy in their neighborhood who really got into hip-hop in the late ’80s and early ’90s. They befriended one another as the underground hip-hop scene took shape in the mid- to late-’90s, with the 1997 Scribble Jam festival in Cincinnati – where \u003ca href=\"https://www.youtube.com/watch?v=EgZVZE5USl4\">Doseone competed alongside Eminem\u003c/a> in a now-legendary freestyle battle – as a key event. Doseone, a fan of Bay underground icons like \u003ca href=\"https://www.kqed.org/arts/13968340/saafir-dead-oakland-rapper-dies-at-54\">Saafir\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13927692/del-funky-homosapien-no-need-for-alarm-30-years-anniversary\">Del the Funky Homosapien\u003c/a>, recalls sending his material to Lyrics Born for approval; then creating the conspiracy-minded Presage project (1998’s \u003ci>Outer Perimeter\u003c/i>) with Jel and Minneapolis DJ Mr. Dibbs for the San Francisco label Future Primitive Sound.\u003c/p>\n\u003cfigure id=\"attachment_13979366\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/IMG_1363.jpg\" alt=\"\" width=\"2000\" height=\"1483\" class=\"size-full wp-image-13979366\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/IMG_1363.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/IMG_1363-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/IMG_1363-768x569.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/IMG_1363-1536x1139.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Yoni Wolf, Odd Nosdam, Sole, Mr. Pennsylvania (of Grand Buffet), Doseone, Passage, Jel and Lord Grunge (of Grand Buffet) in Pittsburgh, sometime in the early 2000s. \u003ccite>(Courtesy Doseone)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The late \u003ca href=\"https://www.kqed.org/arts/13810229/remembering-dj-stef-a-bay-area-underground-hip-hop-icon\">Stephanie “DJ Stef” Ornelas\u003c/a> invited Sole to one of her Vinyl Exchange events in San Francisco. “She showed me an amazing time, and the reception I got through her world was, like, night and day compared to trying to break into the East Coast scene,” he remembered. “I was, like, the Bay is where it’s at. This is where I’m going.” He soon convinced the rest of the group, which had begun expanding with sundry associates like Chris “DJ Mayonnaise” Greer, David “Passage” Bryant, Tommy “Controller 7” McMahon, Rus “Rev. Destructo” Laich and Dave “Moodswing9” Cuzner, to accompany him.\u003c/p>\n\u003cp>The fledgling Anticon camp crammed into a two-and-a-half-bedroom apartment on Lester Avenue in Lake Merritt. “[We] were not rich, man. Everybody was lower middle class. We did not come from shit,” says Dose, remembering how they worked temp jobs while struggling to launch their careers. Later, some of them moved into a warehouse space in West Oakland. They sold CD-Rs on Telegraph Avenue near the UC Berkeley campus, continuing a tradition begun by the Mystik Journeymen, Hobo Junction, and Kemetic Suns crews earlier in the decade. And they founded their own label, Anticon, or “ant icon” — explaining that it stood for anti-conventionalism and anti-conformity. \u003c/p>\n\u003cp>It was during this era when \u003ca href=\"https://www.kqed.org/forum/2010101891144/with-zines-and-mixtapes-writer-hua-hsu-found-identity-friendship-and-consolation\">Hua Hsu\u003c/a>, then a UC Berkeley student and now a Pulitzer Prize-winning staff writer for \u003ci>The New Yorker\u003c/i>, first met the Anticon crew. “In the late nineties or early two-thousands, there were still tons of people hawking tapes and homemade CDs around Telegraph,” Hsu wrote to me via email in 2023. “I started hanging out with Sole and visiting him and the other Anticon guys once they moved into a house together in Oakland. I liked the music, but I was drawn to them more as this collection of oddballs who had somehow found one another.”\u003c/p>\n\u003cfigure id=\"attachment_13979360\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/LtoR-Jel-Doseone-Sole-Mayo-Alias-Anticon-Warehouse-Oakland-1999.jpg\" alt=\"\" width=\"2000\" height=\"1621\" class=\"size-full wp-image-13979360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/LtoR-Jel-Doseone-Sole-Mayo-Alias-Anticon-Warehouse-Oakland-1999.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/LtoR-Jel-Doseone-Sole-Mayo-Alias-Anticon-Warehouse-Oakland-1999-160x130.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/LtoR-Jel-Doseone-Sole-Mayo-Alias-Anticon-Warehouse-Oakland-1999-768x622.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/LtoR-Jel-Doseone-Sole-Mayo-Alias-Anticon-Warehouse-Oakland-1999-1536x1245.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Jel, Doseone, Sole, Mayo and Alias at the Anticon warehouse in West Oakland, circa 1999. \u003ccite>(Courtesy Odd Nosdam)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>However, the collective also generated tension for their sheer industriousness – issuing dozens of recordings a year, including Sole’s 1999 bow \u003ci>Bottle of Humans \u003c/i>and Doseone and Jel’s 2000 pairing \u003ci>Them\u003c/i> (a title inspired by the 1954 horror movie \u003ci>Them!\u003c/i>), all at a time when putting out so much official music was still relatively unusual. Tongue-in-cheek claims by Sole, perhaps the crew’s most visible mouthpiece, that Anticon represented a kind of massive leap in hip-hop artistry rankled detractors. Their breakout national release was the 1999 compilation \u003ci>Music for the Advancement of Hip-Hop\u003c/i>.\u003c/p>\n\u003cp>“For all their intellectualized bravado, I personally found them fundamentally really sweet, more pranksters than trolls,” Hsu observed. Nevertheless, by reacting to a “jiggy” era led by the likes of Sean “Puff Daddy” Combs and Jay-Z, they were typical of countless indie rappers who felt artistically superior to an ethos seemingly defined by the trappings of excessive wealth.\u003c/p>\n\u003cp>“There was a lot of anxiety about success and purity. The idea of DIY success was really prized, and our local heroes were people like \u003ca href=\"https://www.kqed.org/arts/tag/hieroglyphics\">Hiero\u003c/a> and Living Legends, this idea of never compromising and doing everything from the ground up,” Hsu adds. “Even if you weren’t into \u003ca href=\"https://www.kqed.org/arts/tag/too-short\">Too Short\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/tag/e-40\">E-40\u003c/a>, that idea of hustling tapes from a trunk (or on Telegraph) was part of the local DNA.”\u003c/p>\n\u003cfigure id=\"attachment_13979359\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Brenden-Adam-Dax-David-Anticon6months-Office-Emeryville-2002.jpg\" alt=\"\" width=\"2000\" height=\"1500\" class=\"size-full wp-image-13979359\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Brenden-Adam-Dax-David-Anticon6months-Office-Emeryville-2002.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Brenden-Adam-Dax-David-Anticon6months-Office-Emeryville-2002-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Brenden-Adam-Dax-David-Anticon6months-Office-Emeryville-2002-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Brenden-Adam-Dax-David-Anticon6months-Office-Emeryville-2002-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Clockwise from top left, Alias, Doseone, Odd Nosdam and Dax Pierson at the 6months Distribution office in Emeryville in 2002. \u003ccite>(Courtesy Odd Nosdam)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Dax opened us up’\u003c/h2>\n\u003cp>Then there was the fact that Anticon consisted of white transplants that swiftly turned into a briefly dominant local presence, successfully mounting shows at local venues like Slim’s and Bottom of the Hill that, at the time, seemed otherwise averse to booking hip-hop acts. As local weeklies like the \u003ci>San Francisco Bay Guardian \u003c/i>(where I worked for a time) and \u003ci>SF Weekly \u003c/i>as well as \u003ci>Spin \u003c/i>and other national magazines covered their rise, the resulting backlash took on racial overtones. “It’s just ridiculous high school shit to me,” says Jel.\u003c/p>\n\u003cp>Less forgivably, Wolf acknowledges, Anticon was also an all-male crew whose lyrics could be carelessly demeaning of women. They weren’t alone: the underground scene was dominated by men. “It was so sausage-festy, for sure,” said Wolf. “I love each and every one of the dudes. But when you get a bunch of guys together, it’s a lot of testosterone.” \u003c/p>\n\u003cp>But even as Anticon grew alienated from the cloistered yet combative backpacker world, they also found plenty of supporters, and not just the white collegiates that only listened to “conscious” rap. From 1999 to 2000, they held events at Rico’s Loft, a now-shuttered nightclub in San Francisco’s SoMa district. A showcase for the rapidly expanding crew’s talents, it offered an opportunity to book and perform alongside heroes like Myka 9 and P.E.A.C.E. from pioneering Los Angeles group Freestyle Fellowship, and break bread with local acts like Kirby Dominant.\u003c/p>\n\u003cfigure id=\"attachment_13979372\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/IMG_3574.jpg\" alt=\"\" width=\"2000\" height=\"1310\" class=\"size-full wp-image-13979372\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/IMG_3574.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/IMG_3574-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/IMG_3574-768x503.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/IMG_3574-1536x1006.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Dax Pierson and Doseone in an undated photo. \u003ccite>(Courtesy Doseone)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Then there was Dax Pierson, a buyer at Amoeba Records as well as a keyboardist for local bands like Winfred E. Eye. “Dax opened us up, one by one, to all of the other parallel [to Anticon] but completely different forms of music: Boards of Canada, Pinback, Merzbow, Tortoise, Robert Wyatt, This Heat,” says Doseone. “It started to change everyone’s concept of music.” Pierson helped form Subtle, a fusion of melodic rap and electronic music, with Doseone, Jel, Jordan Dalrymple, Marton Dowers and Alex Kort. Subtle eventually signed a major-label deal with Lex Records in the UK for critically acclaimed mid-aughts albums like 2004’s \u003ci>A New White \u003c/i>and 2006’s \u003ci>For Hero : For Fool, \u003c/i>released amid a posthumous surge back home in popularity of Bay Area icon Mac Dre.\u003c/p>\n\u003cp>Anticon’s burgeoning activity undoubtedly felt irrelevant to the average rap fan more interested in hyphy; Anticon’s members found more acceptance within the broader realm of indie music than American rap. The secretive yet revered Scottish electronic duo Boards of Canada were noted fans of cLOUDDEAD, and remixed one of their singles, 2003’s “Dead Dogs Two.” Subtle collaborated with German indie group the Notwist on a 2005 project, 13&God. Yoni Wolf assembled twee electronic pop projects like Hymie’s Basement, a 2003 collaboration with Andrew “Fog” Broder. \u003c/p>\n\u003cp>Meanwhile, as a record label, Anticon proved ahead of its time, yielding an expansive catalogue that encompassed dozens of recordings while challenging and widening notions of what hip-hop can encompass. “Whether it’s Baths, Thee More Shallows, Dosh, Young Fathers, Why?, Sole, or myself, all that stuff started as these underground rap people,” says Doseone. “But it became more than that, and that’s why I think it was significant and important.”\u003c/p>\n\u003cp>“We just got more experimental,” says Jel. “We fit in the ‘weirdness’ section of hip-hop in the Bay.”\u003c/p>\n\u003cfigure id=\"attachment_13979364\" class=\"wp-caption aligncenter\" style=\"max-width: 1081px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Dax.Center.Anticon.jpg\" alt=\"\" width=\"1081\" height=\"745\" class=\"size-full wp-image-13979364\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Dax.Center.Anticon.jpg 1081w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Dax.Center.Anticon-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Dax.Center.Anticon-768x529.jpg 768w\" sizes=\"auto, (max-width: 1081px) 100vw, 1081px\">\u003cfigcaption class=\"wp-caption-text\">Subtle, with members Alex Kort, Doseone, Jordan Dalrymple, Dax Pierson, Jel and Marty Dowers. \u003ccite>(Courtesy Doseone)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Dissolving and dispersing\u003c/h2>\n\u003cp>Today, only Jel and Odd Nosdam still live in the Bay Area. Despite popular Anticon releases by Wolf’s band Why? (2005’s \u003ci>Elephant Eyelash\u003c/i> and 2008’s \u003ci>Alopecia\u003c/i>, in particular) as well as Chicago rapper Serengeti (2011’s \u003ci>Family&Friends\u003c/i>), the record label eventually collapsed in 2018 amid internal acrimony. Sole, whose angst-ridden lyricism and heroic panache once fueled the collective, now lives happily on a farm in Maine while releasing\u003ca href=\"https://www.patreon.com/soleone\"> music via Patreon\u003c/a>. Wolf moved back to Cincinnati and released \u003ci>The Well I Fell Into \u003c/i>last year. The Pedestrian, who once sparked national headlines with his \u003ca href=\"https://eastbayexpress.com/black-like-me-1/\">2003 \u003ci>East Bay Express \u003c/i>cover story on message board-rapper-turned-jihadist John Walker Lindh\u003c/a>, more recently worked as a lecturer at UCLA.\u003c/p>\n\u003cp>Sadly, Brendon “Alias” Whitney passed away in 2018 at the age of 41. Whitney was an uncommonly kind and gentle soul, and the kind of person that could innately make you reflect on the vulnerability and sensitivity of humankind. His best work, like 2002’s \u003ci>The Other Side of the Looking Glass\u003c/i> and 2018’s \u003ci>Less Is Orchestra\u003c/i>, the latter a posthumous collaboration with Doseone, reflected those traits.\u003c/p>\n\u003cp>Last February, Doseone returned to Oakland to help lead a memorial service for Pierson, who \u003ca href=\"https://www.sfgate.com/sf-culture/article/revered-bay-area-musician-dax-pierson-dies-20051711.php\">passed away in 2024\u003c/a> after years of life as a paraplegic. Despite being paralyzed in a 2005 car crash while touring with Subtle, he continued to perform with the band from a wheelchair. In 2021, he released the haunting yet optimistic instrumental electronic album, \u003ci>Nerve Bumps (A Queer Divine Dissatisfaction)\u003c/i>, via San Francisco dance label \u003ca href=\"https://www.kqed.org/arts/13961027/dark-entries-records-15th-anniversary-parties-san-francisco\">Dark Entries\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/tag/ratskin-records\">Ratskin Records\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13979371\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/IMG_1937.jpg\" alt=\"\" width=\"2000\" height=\"1500\" class=\"size-full wp-image-13979371\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/IMG_1937.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/IMG_1937-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/IMG_1937-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/IMG_1937-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Patrick Scott, Marty Dowers, Jeff “Jel” Logan, Alex Kort, Adam “Doseone” Drucker and Jordan Dalrymple at a memorial for Dax Pierson at Chapel of the Chimes in Oakland in 2025.\u003cbr> \u003ccite>(Lily Hussey)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With the untimely passing of Pierson as well as Whitney, Doseone – who will be arriving from a Japan tour for this weekend’s memorial concert – can’t help but reflect on how distant those years when Anticon was shaking up the music world feel now. \u003c/p>\n\u003cp>“You really see that the friends you make when you’re a burning ball of gas and young and passionate, if you can keep those friends, man, you just don’t make them again,” he says. \u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://grayarea.org/event/dax-pierson-celebration-of-life/\">A Celebration of Life for Dax Pierson\u003c/a>’ features performances by Doseone, M.Sayyid, Jel, Golden Champagne, Flavored Sweatshirt and Mars Kumari on Saturday, Aug. 2, at Gray Area Theater in San Francisco.\u003c/i>\u003c/p>\n\n",
"blocks": [],
"excerpt": "The dizzying Bay Area collective forced listeners to hear differently, even within a burgeoning ‘indie rap’ scene.\r\n",
"status": "publish",
"parent": 0,
"modified": 1754082713,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 31,
"wordCount": 2709
},
"headData": {
"title": "Anticon: A Brief History of the Fiercely Creative Hip-Hop Collective | KQED",
"description": "The dizzying Bay Area collective forced listeners to hear differently, even within a burgeoning ‘indie rap’ scene.\r\n",
"ogTitle": "Remembering Anticon and Hip-Hop’s Reckoning With Weirdness",
"ogDescription": "",
"ogImgId": "",
"twTitle": "Remembering Anticon and Hip-Hop’s Reckoning With Weirdness",
"twDescription": "",
"twImgId": "",
"socialTitle": "Anticon: A Brief History of the Fiercely Creative Hip-Hop Collective%%page%% %%sep%% KQED",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Remembering Anticon and Hip-Hop’s Reckoning With Weirdness",
"datePublished": "2025-07-31T12:49:48-07:00",
"dateModified": "2025-08-01T14:11:53-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"primaryCategory": {
"termId": 1,
"slug": "arts",
"name": "Arts"
},
"source": "That's My Word",
"sticky": false,
"nprStoryId": "kqed-13979349",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/13979349/anticon-history-doseone-jel-sole-alias-clouddead-odd-nosdam-oakland",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Editor’s note: This story is part of \u003c/em>\u003ca href=\"https://www.kqed.org/bayareahiphop\">That’s My Word\u003c/a>\u003cem>, an ongoing KQED series about \u003ca href=\"https://www.kqed.org/bayareahiphop\">Bay Area hip-hop\u003c/a> history.\u003c/em>\u003c/p>\n\u003cp>“While hip-hop was struggling to digest us, \u003ci>music\u003c/i> was accepting us,” said Adam Drucker, the rapper, producer and vocalist also known as Doseone, while telling me about the Anticon collective back in 2023. This was during the height of celebrations for hip-hop’s ostensible 50th anniversary, generating all-star concerts, award-show tributes and, in the Bay Area, \u003ca href=\"https://www.kqed.org/bayareahiphop\">\u003ci>That’s My Word\u003c/i>\u003c/a>, KQED’s ongoing initiative spotlighting the history of local hip-hop.\u003c/p>\n\u003cp>But it also inspired reflections about who’s traditionally considered part of that history, and who is often left out. For Doseone, a founding member of the iconoclastic Anticon collective in Oakland established by Tim “Sole” Holland and James “Pedestrian” Best in 1998, the moment generated complicated feelings.\u003c/p>\n\u003cp>“What you find out sometimes,” he told me, is that “if you make something exactly the way you want it because it’s never been done before, and it’s a little bit of that and a little bit of this, it’s a smaller group of people with a more refined palette [that appreciate it]. It doesn’t mean success. It doesn’t mean being included in lists. It doesn’t mean trophies. But it does \u003ci>exist\u003c/i>.”\u003c/p>\n\u003cfigure id=\"attachment_13979251\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250728-JELPRODUCERANTICON-05-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13979251\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250728-JELPRODUCERANTICON-05-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250728-JELPRODUCERANTICON-05-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250728-JELPRODUCERANTICON-05-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250728-JELPRODUCERANTICON-05-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jeff Logan, better known as the hip-hop producer Jel and co-founder of the Anticon label, sits at the mixing board at Wyldwood Studios in Berkeley on July 28, 2025. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Two years later, that feeling of being underappreciated has subsided. That may be due in part to the critical acclaim Doseone, who now lives in Colorado, has received for \u003ci>All Portrait, No Chorus\u003c/i>, released this year by popular New York label Backwoodz Studioz, making it Dose’s most high-profile album in years. (He’s also a video-game composer for popular games like \u003ci>Enter the Gungeon\u003c/i>.) Or the fact that onetime Anticon producer Jeffrey “Jel” Logan continues to work with a wide range of artists, from M. Sayyid of Antipop Consortium to indie pioneers \u003ca href=\"https://www.kqed.org/arts/13929861/latyrx-lateef-lyrics-born-solesides-quannum\">Latyrx\u003c/a>, all while DJing at local spots like the Berkeley vintage store B League. And last year, producer David “Odd Nosdam” Madson remastered \u003ci>cLOUDDEAD\u003c/i>, his 2001 album with Dose and Yoni “Why?” Wolf, for the San Francisco imprint Superior Viaduct. The collection of tracks, which shift between meandering singsong raps, yearning synth washes, and elliptical, poetic lyrics, have been cited as an inspiration by TV on the Radio and many others.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Listening to [Frank Ocean’s alt-R&B masterwork] \u003ci>Blonde\u003c/i>, there’s moments where I’m, like, this somehow feels like the \u003ci>cLOUDDEAD \u003c/i>feeling, the way things are stretched out and collage-y with the ambient parts,” says Odd Nosdam, the Berkeley-based producer whose evocative ambient loops helped define the project.\u003c/p>\n\u003cp>But even if the R&B enigma didn’t mainline \u003ci>cLOUDDEAD\u003c/i> excursions like “Bike” and “I Promise to Never Get Paint on My Glasses Again” before making \u003ci>Blonde\u003c/i>, it’s clear that in the early aughts, Anticon helped innovate a hard-to-define sound, still prominent today, that vacillates between lo-fi electronics, shoegaze-y dynamics, winsome singsong raps, and hip-hop breaks. They anticipated much of current popular music, from the “cloud rap” trend of the early 2010s buoyed by Bay acts like Lil B and Main Attrakionz to a certain incorporation of melody that continues to define modern rap. Perhaps they don’t get as much mainstream credit as others. But their peers have begun to understand Anticon’s singular place in the underground hip-hop canon.\u003c/p>\n\u003cfigure id=\"attachment_13979365\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/DoseOne_soundwave_2.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13979365\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/DoseOne_soundwave_2.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/DoseOne_soundwave_2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/DoseOne_soundwave_2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/DoseOne_soundwave_2-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">What started as Anticon’s fearless experimentation in underground rap “became so much more that that,” says Doseone, pictured. \u003ccite>(Don Hicks)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“You listen back to all that music, and there’s still really nothing else like it. It’s really original,” says Zack Kasten, who runs Handsmade Records in Oakland. He’s organizing an Aug. 2 memorial event for Dax Pierson, a musician and longtime friend of Anticon who passed away on Dec. 30, 2024, at the age of 54. Doseone and Jel will perform, as well as Paris-based rapper/producer Sayyid (who once lived in San Jose and worked with SF performance artists Survival Research Laboratories), rising Oakland producer Mars Kumari, and openers Golden Champagne and Flavored Sweatshirt. Proceeds go to Pierson’s life partner, Chuck Nanney.\u003c/p>\n\u003ch2>A cross-country coalescing\n\u003ch2>\n\u003c/h2>\u003c/h2>\u003cp>Anticon began as a Bay Area phenomenon. Its core seven members relocated from other parts of the country like Maine (Sole and Brendon “Alias” Whitney), Los Angeles (The Pedestrian), Cincinnati (Odd Nosdam and Yoni Wolf as well as Doseone, via New Jersey), and Chicago (Jel).\u003c/p>\n\u003cp>Each had a history of being the one white guy in their neighborhood who really got into hip-hop in the late ’80s and early ’90s. They befriended one another as the underground hip-hop scene took shape in the mid- to late-’90s, with the 1997 Scribble Jam festival in Cincinnati – where \u003ca href=\"https://www.youtube.com/watch?v=EgZVZE5USl4\">Doseone competed alongside Eminem\u003c/a> in a now-legendary freestyle battle – as a key event. Doseone, a fan of Bay underground icons like \u003ca href=\"https://www.kqed.org/arts/13968340/saafir-dead-oakland-rapper-dies-at-54\">Saafir\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13927692/del-funky-homosapien-no-need-for-alarm-30-years-anniversary\">Del the Funky Homosapien\u003c/a>, recalls sending his material to Lyrics Born for approval; then creating the conspiracy-minded Presage project (1998’s \u003ci>Outer Perimeter\u003c/i>) with Jel and Minneapolis DJ Mr. Dibbs for the San Francisco label Future Primitive Sound.\u003c/p>\n\u003cfigure id=\"attachment_13979366\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/IMG_1363.jpg\" alt=\"\" width=\"2000\" height=\"1483\" class=\"size-full wp-image-13979366\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/IMG_1363.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/IMG_1363-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/IMG_1363-768x569.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/IMG_1363-1536x1139.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Yoni Wolf, Odd Nosdam, Sole, Mr. Pennsylvania (of Grand Buffet), Doseone, Passage, Jel and Lord Grunge (of Grand Buffet) in Pittsburgh, sometime in the early 2000s. \u003ccite>(Courtesy Doseone)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The late \u003ca href=\"https://www.kqed.org/arts/13810229/remembering-dj-stef-a-bay-area-underground-hip-hop-icon\">Stephanie “DJ Stef” Ornelas\u003c/a> invited Sole to one of her Vinyl Exchange events in San Francisco. “She showed me an amazing time, and the reception I got through her world was, like, night and day compared to trying to break into the East Coast scene,” he remembered. “I was, like, the Bay is where it’s at. This is where I’m going.” He soon convinced the rest of the group, which had begun expanding with sundry associates like Chris “DJ Mayonnaise” Greer, David “Passage” Bryant, Tommy “Controller 7” McMahon, Rus “Rev. Destructo” Laich and Dave “Moodswing9” Cuzner, to accompany him.\u003c/p>\n\u003cp>The fledgling Anticon camp crammed into a two-and-a-half-bedroom apartment on Lester Avenue in Lake Merritt. “[We] were not rich, man. Everybody was lower middle class. We did not come from shit,” says Dose, remembering how they worked temp jobs while struggling to launch their careers. Later, some of them moved into a warehouse space in West Oakland. They sold CD-Rs on Telegraph Avenue near the UC Berkeley campus, continuing a tradition begun by the Mystik Journeymen, Hobo Junction, and Kemetic Suns crews earlier in the decade. And they founded their own label, Anticon, or “ant icon” — explaining that it stood for anti-conventionalism and anti-conformity. \u003c/p>\n\u003cp>It was during this era when \u003ca href=\"https://www.kqed.org/forum/2010101891144/with-zines-and-mixtapes-writer-hua-hsu-found-identity-friendship-and-consolation\">Hua Hsu\u003c/a>, then a UC Berkeley student and now a Pulitzer Prize-winning staff writer for \u003ci>The New Yorker\u003c/i>, first met the Anticon crew. “In the late nineties or early two-thousands, there were still tons of people hawking tapes and homemade CDs around Telegraph,” Hsu wrote to me via email in 2023. “I started hanging out with Sole and visiting him and the other Anticon guys once they moved into a house together in Oakland. I liked the music, but I was drawn to them more as this collection of oddballs who had somehow found one another.”\u003c/p>\n\u003cfigure id=\"attachment_13979360\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/LtoR-Jel-Doseone-Sole-Mayo-Alias-Anticon-Warehouse-Oakland-1999.jpg\" alt=\"\" width=\"2000\" height=\"1621\" class=\"size-full wp-image-13979360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/LtoR-Jel-Doseone-Sole-Mayo-Alias-Anticon-Warehouse-Oakland-1999.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/LtoR-Jel-Doseone-Sole-Mayo-Alias-Anticon-Warehouse-Oakland-1999-160x130.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/LtoR-Jel-Doseone-Sole-Mayo-Alias-Anticon-Warehouse-Oakland-1999-768x622.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/LtoR-Jel-Doseone-Sole-Mayo-Alias-Anticon-Warehouse-Oakland-1999-1536x1245.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Jel, Doseone, Sole, Mayo and Alias at the Anticon warehouse in West Oakland, circa 1999. \u003ccite>(Courtesy Odd Nosdam)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>However, the collective also generated tension for their sheer industriousness – issuing dozens of recordings a year, including Sole’s 1999 bow \u003ci>Bottle of Humans \u003c/i>and Doseone and Jel’s 2000 pairing \u003ci>Them\u003c/i> (a title inspired by the 1954 horror movie \u003ci>Them!\u003c/i>), all at a time when putting out so much official music was still relatively unusual. Tongue-in-cheek claims by Sole, perhaps the crew’s most visible mouthpiece, that Anticon represented a kind of massive leap in hip-hop artistry rankled detractors. Their breakout national release was the 1999 compilation \u003ci>Music for the Advancement of Hip-Hop\u003c/i>.\u003c/p>\n\u003cp>“For all their intellectualized bravado, I personally found them fundamentally really sweet, more pranksters than trolls,” Hsu observed. Nevertheless, by reacting to a “jiggy” era led by the likes of Sean “Puff Daddy” Combs and Jay-Z, they were typical of countless indie rappers who felt artistically superior to an ethos seemingly defined by the trappings of excessive wealth.\u003c/p>\n\u003cp>“There was a lot of anxiety about success and purity. The idea of DIY success was really prized, and our local heroes were people like \u003ca href=\"https://www.kqed.org/arts/tag/hieroglyphics\">Hiero\u003c/a> and Living Legends, this idea of never compromising and doing everything from the ground up,” Hsu adds. “Even if you weren’t into \u003ca href=\"https://www.kqed.org/arts/tag/too-short\">Too Short\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/tag/e-40\">E-40\u003c/a>, that idea of hustling tapes from a trunk (or on Telegraph) was part of the local DNA.”\u003c/p>\n\u003cfigure id=\"attachment_13979359\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Brenden-Adam-Dax-David-Anticon6months-Office-Emeryville-2002.jpg\" alt=\"\" width=\"2000\" height=\"1500\" class=\"size-full wp-image-13979359\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Brenden-Adam-Dax-David-Anticon6months-Office-Emeryville-2002.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Brenden-Adam-Dax-David-Anticon6months-Office-Emeryville-2002-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Brenden-Adam-Dax-David-Anticon6months-Office-Emeryville-2002-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Brenden-Adam-Dax-David-Anticon6months-Office-Emeryville-2002-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Clockwise from top left, Alias, Doseone, Odd Nosdam and Dax Pierson at the 6months Distribution office in Emeryville in 2002. \u003ccite>(Courtesy Odd Nosdam)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Dax opened us up’\u003c/h2>\n\u003cp>Then there was the fact that Anticon consisted of white transplants that swiftly turned into a briefly dominant local presence, successfully mounting shows at local venues like Slim’s and Bottom of the Hill that, at the time, seemed otherwise averse to booking hip-hop acts. As local weeklies like the \u003ci>San Francisco Bay Guardian \u003c/i>(where I worked for a time) and \u003ci>SF Weekly \u003c/i>as well as \u003ci>Spin \u003c/i>and other national magazines covered their rise, the resulting backlash took on racial overtones. “It’s just ridiculous high school shit to me,” says Jel.\u003c/p>\n\u003cp>Less forgivably, Wolf acknowledges, Anticon was also an all-male crew whose lyrics could be carelessly demeaning of women. They weren’t alone: the underground scene was dominated by men. “It was so sausage-festy, for sure,” said Wolf. “I love each and every one of the dudes. But when you get a bunch of guys together, it’s a lot of testosterone.” \u003c/p>\n\u003cp>But even as Anticon grew alienated from the cloistered yet combative backpacker world, they also found plenty of supporters, and not just the white collegiates that only listened to “conscious” rap. From 1999 to 2000, they held events at Rico’s Loft, a now-shuttered nightclub in San Francisco’s SoMa district. A showcase for the rapidly expanding crew’s talents, it offered an opportunity to book and perform alongside heroes like Myka 9 and P.E.A.C.E. from pioneering Los Angeles group Freestyle Fellowship, and break bread with local acts like Kirby Dominant.\u003c/p>\n\u003cfigure id=\"attachment_13979372\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/IMG_3574.jpg\" alt=\"\" width=\"2000\" height=\"1310\" class=\"size-full wp-image-13979372\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/IMG_3574.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/IMG_3574-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/IMG_3574-768x503.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/IMG_3574-1536x1006.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Dax Pierson and Doseone in an undated photo. \u003ccite>(Courtesy Doseone)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Then there was Dax Pierson, a buyer at Amoeba Records as well as a keyboardist for local bands like Winfred E. Eye. “Dax opened us up, one by one, to all of the other parallel [to Anticon] but completely different forms of music: Boards of Canada, Pinback, Merzbow, Tortoise, Robert Wyatt, This Heat,” says Doseone. “It started to change everyone’s concept of music.” Pierson helped form Subtle, a fusion of melodic rap and electronic music, with Doseone, Jel, Jordan Dalrymple, Marton Dowers and Alex Kort. Subtle eventually signed a major-label deal with Lex Records in the UK for critically acclaimed mid-aughts albums like 2004’s \u003ci>A New White \u003c/i>and 2006’s \u003ci>For Hero : For Fool, \u003c/i>released amid a posthumous surge back home in popularity of Bay Area icon Mac Dre.\u003c/p>\n\u003cp>Anticon’s burgeoning activity undoubtedly felt irrelevant to the average rap fan more interested in hyphy; Anticon’s members found more acceptance within the broader realm of indie music than American rap. The secretive yet revered Scottish electronic duo Boards of Canada were noted fans of cLOUDDEAD, and remixed one of their singles, 2003’s “Dead Dogs Two.” Subtle collaborated with German indie group the Notwist on a 2005 project, 13&God. Yoni Wolf assembled twee electronic pop projects like Hymie’s Basement, a 2003 collaboration with Andrew “Fog” Broder. \u003c/p>\n\u003cp>Meanwhile, as a record label, Anticon proved ahead of its time, yielding an expansive catalogue that encompassed dozens of recordings while challenging and widening notions of what hip-hop can encompass. “Whether it’s Baths, Thee More Shallows, Dosh, Young Fathers, Why?, Sole, or myself, all that stuff started as these underground rap people,” says Doseone. “But it became more than that, and that’s why I think it was significant and important.”\u003c/p>\n\u003cp>“We just got more experimental,” says Jel. “We fit in the ‘weirdness’ section of hip-hop in the Bay.”\u003c/p>\n\u003cfigure id=\"attachment_13979364\" class=\"wp-caption aligncenter\" style=\"max-width: 1081px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Dax.Center.Anticon.jpg\" alt=\"\" width=\"1081\" height=\"745\" class=\"size-full wp-image-13979364\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Dax.Center.Anticon.jpg 1081w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Dax.Center.Anticon-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Dax.Center.Anticon-768x529.jpg 768w\" sizes=\"auto, (max-width: 1081px) 100vw, 1081px\">\u003cfigcaption class=\"wp-caption-text\">Subtle, with members Alex Kort, Doseone, Jordan Dalrymple, Dax Pierson, Jel and Marty Dowers. \u003ccite>(Courtesy Doseone)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Dissolving and dispersing\u003c/h2>\n\u003cp>Today, only Jel and Odd Nosdam still live in the Bay Area. Despite popular Anticon releases by Wolf’s band Why? (2005’s \u003ci>Elephant Eyelash\u003c/i> and 2008’s \u003ci>Alopecia\u003c/i>, in particular) as well as Chicago rapper Serengeti (2011’s \u003ci>Family&Friends\u003c/i>), the record label eventually collapsed in 2018 amid internal acrimony. Sole, whose angst-ridden lyricism and heroic panache once fueled the collective, now lives happily on a farm in Maine while releasing\u003ca href=\"https://www.patreon.com/soleone\"> music via Patreon\u003c/a>. Wolf moved back to Cincinnati and released \u003ci>The Well I Fell Into \u003c/i>last year. The Pedestrian, who once sparked national headlines with his \u003ca href=\"https://eastbayexpress.com/black-like-me-1/\">2003 \u003ci>East Bay Express \u003c/i>cover story on message board-rapper-turned-jihadist John Walker Lindh\u003c/a>, more recently worked as a lecturer at UCLA.\u003c/p>\n\u003cp>Sadly, Brendon “Alias” Whitney passed away in 2018 at the age of 41. Whitney was an uncommonly kind and gentle soul, and the kind of person that could innately make you reflect on the vulnerability and sensitivity of humankind. His best work, like 2002’s \u003ci>The Other Side of the Looking Glass\u003c/i> and 2018’s \u003ci>Less Is Orchestra\u003c/i>, the latter a posthumous collaboration with Doseone, reflected those traits.\u003c/p>\n\u003cp>Last February, Doseone returned to Oakland to help lead a memorial service for Pierson, who \u003ca href=\"https://www.sfgate.com/sf-culture/article/revered-bay-area-musician-dax-pierson-dies-20051711.php\">passed away in 2024\u003c/a> after years of life as a paraplegic. Despite being paralyzed in a 2005 car crash while touring with Subtle, he continued to perform with the band from a wheelchair. In 2021, he released the haunting yet optimistic instrumental electronic album, \u003ci>Nerve Bumps (A Queer Divine Dissatisfaction)\u003c/i>, via San Francisco dance label \u003ca href=\"https://www.kqed.org/arts/13961027/dark-entries-records-15th-anniversary-parties-san-francisco\">Dark Entries\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/tag/ratskin-records\">Ratskin Records\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13979371\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/IMG_1937.jpg\" alt=\"\" width=\"2000\" height=\"1500\" class=\"size-full wp-image-13979371\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/IMG_1937.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/IMG_1937-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/IMG_1937-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/IMG_1937-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Patrick Scott, Marty Dowers, Jeff “Jel” Logan, Alex Kort, Adam “Doseone” Drucker and Jordan Dalrymple at a memorial for Dax Pierson at Chapel of the Chimes in Oakland in 2025.\u003cbr> \u003ccite>(Lily Hussey)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With the untimely passing of Pierson as well as Whitney, Doseone – who will be arriving from a Japan tour for this weekend’s memorial concert – can’t help but reflect on how distant those years when Anticon was shaking up the music world feel now. \u003c/p>\n\u003cp>“You really see that the friends you make when you’re a burning ball of gas and young and passionate, if you can keep those friends, man, you just don’t make them again,” he says. \u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://grayarea.org/event/dax-pierson-celebration-of-life/\">A Celebration of Life for Dax Pierson\u003c/a>’ features performances by Doseone, M.Sayyid, Jel, Golden Champagne, Flavored Sweatshirt and Mars Kumari on Saturday, Aug. 2, at Gray Area Theater in San Francisco.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13979349/anticon-history-doseone-jel-sole-alias-clouddead-odd-nosdam-oakland",
"authors": [
"11855"
],
"categories": [
"arts_1",
"arts_69",
"arts_235"
],
"tags": [
"arts_8505",
"arts_10342",
"arts_10278",
"arts_831",
"arts_1143",
"arts_22382",
"arts_19347"
],
"featImg": "arts_13979402",
"label": "source_arts_13979349"
},
"arts_13979378": {
"type": "posts",
"id": "arts_13979378",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13979378",
"score": null,
"sort": [
1753986983000
]
},
"guestAuthors": [],
"slug": "bbq-without-borders-immigrant-fundraiser-oakland-museum-2025",
"title": "A Barbecue Bash in Oakland to Lift Up Immigrant Communities",
"publishDate": 1753986983,
"format": "standard",
"headTitle": "A Barbecue Bash in Oakland to Lift Up Immigrant Communities | KQED",
"labelTerm": {},
"content": "\u003cp>When Vibha Gupta organized the first \u003ca href=\"https://www.kqed.org/arts/13928792/no-immigrants-no-spice-barbecue-yakitori-kebab-lechon-oakland\">BBQ Without Borders\u003c/a> event in Oakland \u003ca href=\"https://noimmigrantsnospice.org/bbq2019\">in 2019\u003c/a>, she conceived it as a response to the Trump administration’s anti-\u003ca href=\"https://www.kqed.org/arts/tag/immigration\">immigrant\u003c/a> rhetoric. In the era of “Build the Wall” and a Muslim travel ban, the barbecue feast celebrated Mexican barbacoa, Iranian kebabs and Indonesian grilled fish skewers — and, even more importantly, the diverse immigrant communities that brought those fire-kissed foods to America.\u003c/p>\n\u003cp>“No Immigrants, No Spice.” That was the name Gupta chose for her fledgling nonprofit that hosted the event, drawing inspiration from a \u003ca href=\"https://www.youtube.com/watch?v=BOt5SmHf2aE\">Trevor Noah bit\u003c/a>.\u003c/p>\n\u003cp>Now, six months into a second Trump presidency that has already put \u003ca href=\"https://www.npr.org/2025/07/03/nx-s1-5456246/immigrants-no-criminal-convictions-growth-ice-detention-population\">more than 56,000 immigrants into ICE detention centers\u003c/a>, Gupta believes the pro-immigrant barbecue fundraiser is more relevant than ever. The \u003ca href=\"https://events.humanitix.com/bbq-without-borders-2025\">2025 edition of BBQ Without Borders\u003c/a> takes place this Saturday, Aug. 2, at the Oakland Museum, featuring live music, kid-friendly activities and a star-studded lineup of local chefs from restaurants like \u003ca href=\"https://www.kqed.org/arts/13954899/latina-owned-pr-agency-popoca-oakland-east-bay-if-only-creative\">Popoca\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13978846/new-ethiopian-eritrean-restaurants-bay-area-san-francisco-oakland\">Café Colucci\u003c/a>.\u003c/p>\n\u003cp>According to Gupta, the work of her organization has never felt as radical to her as it has this year. “Something as simple as getting together and celebrating the contributions of immigrants feels dangerous,” she says.\u003c/p>\n\u003cp>Gupta, an East Bay resident and emergency room doctor, explains that she chose barbecue because of the love that so many immigrant communities share for grilled foods. “When you say barbecue in the American lexicon, it conjures up images of hot dogs, hamburgers and, you know, brisket in the South,” Gupta says.\u003c/p>\n\u003cfigure id=\"attachment_13979386\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979386\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Food-BBQ-Without-Borders-2023.jpg\" alt=\"A spread of grilled dishes laid out on a picnic table.\" width=\"2000\" height=\"1125\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Food-BBQ-Without-Borders-2023.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Food-BBQ-Without-Borders-2023-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Food-BBQ-Without-Borders-2023-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Food-BBQ-Without-Borders-2023-1536x864.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A spread of dishes from the 2023 edition of BBQ Without Borders. \u003ccite>(Scott Hoag, courtesy of No Immigrants, No Spice)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The idea of “barbecue without borders” was to flip that script and show that barbecue can consist of \u003ca href=\"https://www.kqed.org/bbq\">many other fire-based dishes\u003c/a>, like Persian pomegranate-molasses grilled chicken wings and intricately spiced Indian barbecue served with gorgeous handmade chutneys.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“We like to think of barbecue as a vehicle to introduce people to different cultures,” Gupta explains. “A barbecue conjures up images of community and people sharing. And we think that that’s the perfect place to talk about immigration.”\u003c/p>\n\u003cp>This year’s participating chefs were chosen for both the deliciousness of their food and the fact that their community has been maligned and misrepresented by the current administration in some way. For instance, Café Colucci general manager Daniel Yeshiwas, who will be serving awaze tibs skewers, represents a story of intergenerational hustle — his auntie, Fetlework Tefferi, \u003ca href=\"https://www.kqed.org/arts/13978846/new-ethiopian-eritrean-restaurants-bay-area-san-francisco-oakland\">started the restaurant in the ’90s\u003c/a> and eventually opened the Bay Area’s first Ethiopian spice company. Now, three decades later, she and Yeshiwas have built up an impressive Ethiopian food empire that, as Gupta points out, stands in sharp contrast to Trump’s sneering reference to \u003ca href=\"https://www.nytimes.com/interactive/2018/01/19/world/africa/document-Trump-African-Countries.html\">“shithole” African countries\u003c/a>. Chef Anthony Salguero will serve fresh herb–topped Salvadoran enchiladas. His Oakland restaurant, Popoca, is a love letter to the diverse, nuanced cuisine of El Salvador — a country associated, recently, with the massive CECOT prison where hundreds of alleged gang members have been “disappeared to” without a trial.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cspan style=\"color: #2b2b2b;font-weight: 400\">[aside postID='arts_13915306,arts_13904835,arts_13915312']\u003c/span>\u003c/span>Meanwhile, Sincere Justice of Oakland’s Tacos Sincero will showcase his unique brand of “Chino-Latino” fusion cuisine — tostadas topped with braised chicken and Sichuan salsa verde, and “Thai pastor” blistered green beans. (Maria Marquez of Tacos Mamá Cuca, who was originally slated to be the third chef, had to pull out due to a family emergency, but she’ll still be featured in an art exhibition that BBQ Without Borders staff are creating to tell each chef’s personal story.)\u003c/p>\n\u003cp>To top things off, Third Culture Bakery will provide desserts, and, as an add-on, a limited number of guests can sign up for a \u003ca href=\"https://www.instagram.com/p/DMGzn0VSmWP/?hl=en\">pani puri party\u003c/a> hosted by chef Preeti Mistry (Juhu Beach Club).\u003c/p>\n\u003cp>There’s also a fundraising element to the event: All proceeds will go toward a “\u003ca href=\"https://www.instagram.com/p/DMQeR6npphG/?img_index=1\">Resilience Fund\u003c/a>,” created in partnership with Oakland’s Unity Council, that will provide cash assistance to undocumented immigrants in the East Bay. The goal is to raise $50,000 to pay for these “micro-grants.” Gupta acknowledges that cutting someone a check for a few hundred dollars isn’t enough to be life-changing — “but if we can help keep someone in their apartment for an extra month, or have someone have enough food so they don’t have to go to work selling flowers on the side of the street because they’re afraid of being picked up by ICE, then that’s a win for us.”\u003c/p>\n\u003cfigure id=\"attachment_13979387\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979387\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Event-Attendees-BBQ-Without-Borders-2023.jpg\" alt=\"A crowd picnicking on a sunny day, including a smiling couple with arms around each other's shoulders\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Event-Attendees-BBQ-Without-Borders-2023.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Event-Attendees-BBQ-Without-Borders-2023-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Event-Attendees-BBQ-Without-Borders-2023-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Event-Attendees-BBQ-Without-Borders-2023-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The goal is to provide a ‘celebratory safe space.’ \u003ccite>(Scott Hoag, courtesy of No Immigrants, No Spice)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The broader hope, Gupta says, is for the barbecue to be a “celebratory safe space” that presents a different image of immigration than the ones currently being blasted across the news media — “people being chased down, windows being broken, like these ICE raids that are happening here and in Los Angeles.”\u003c/p>\n\u003cp>“This event is so important because it gives some dignity back to people, and that’s why we’re doing this,” she says.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://events.humanitix.com/bbq-without-borders-2025\">\u003ci>BBQ Without Borders\u003c/i>\u003c/a>\u003ci> will take place on Saturday, Aug. 2, from 3–7 p.m., at the Oakland Museum of California (1000 Oak St., Oakland). Each chef will offer both meat and vegetarian options. \u003c/i>\u003ca href=\"https://events.humanitix.com/bbq-without-borders-2025/tickets\">\u003ci>Tickets are available online\u003c/i>\u003c/a>\u003ci>. \u003c/i>\u003c/p>\n\n",
"blocks": [],
"excerpt": "In a time of escalating ICE raids, BBQ Without Borders aims to create a celebratory safe space.",
"status": "publish",
"parent": 0,
"modified": 1753988652,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 16,
"wordCount": 949
},
"headData": {
"title": "BBQ Without Borders Lifts Up Immigrants in Oakland | KQED",
"description": "In a time of escalating ICE raids, BBQ Without Borders aims to create a celebratory safe space.",
"ogTitle": "A Barbecue Bash in Oakland to Lift Up Immigrant Communities",
"ogDescription": "",
"ogImgId": "",
"twTitle": "A Barbecue Bash in Oakland to Lift Up Immigrant Communities",
"twDescription": "",
"twImgId": "",
"socialTitle": "BBQ Without Borders Lifts Up Immigrants in Oakland %%page%% %%sep%% KQED",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "A Barbecue Bash in Oakland to Lift Up Immigrant Communities",
"datePublished": "2025-07-31T11:36:23-07:00",
"dateModified": "2025-07-31T12:04:12-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"primaryCategory": {
"termId": 12276,
"slug": "food",
"name": "Food"
},
"source": "Food",
"sourceUrl": "https://www.kqed.org/food",
"sticky": false,
"nprStoryId": "kqed-13979378",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/13979378/bbq-without-borders-immigrant-fundraiser-oakland-museum-2025",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When Vibha Gupta organized the first \u003ca href=\"https://www.kqed.org/arts/13928792/no-immigrants-no-spice-barbecue-yakitori-kebab-lechon-oakland\">BBQ Without Borders\u003c/a> event in Oakland \u003ca href=\"https://noimmigrantsnospice.org/bbq2019\">in 2019\u003c/a>, she conceived it as a response to the Trump administration’s anti-\u003ca href=\"https://www.kqed.org/arts/tag/immigration\">immigrant\u003c/a> rhetoric. In the era of “Build the Wall” and a Muslim travel ban, the barbecue feast celebrated Mexican barbacoa, Iranian kebabs and Indonesian grilled fish skewers — and, even more importantly, the diverse immigrant communities that brought those fire-kissed foods to America.\u003c/p>\n\u003cp>“No Immigrants, No Spice.” That was the name Gupta chose for her fledgling nonprofit that hosted the event, drawing inspiration from a \u003ca href=\"https://www.youtube.com/watch?v=BOt5SmHf2aE\">Trevor Noah bit\u003c/a>.\u003c/p>\n\u003cp>Now, six months into a second Trump presidency that has already put \u003ca href=\"https://www.npr.org/2025/07/03/nx-s1-5456246/immigrants-no-criminal-convictions-growth-ice-detention-population\">more than 56,000 immigrants into ICE detention centers\u003c/a>, Gupta believes the pro-immigrant barbecue fundraiser is more relevant than ever. The \u003ca href=\"https://events.humanitix.com/bbq-without-borders-2025\">2025 edition of BBQ Without Borders\u003c/a> takes place this Saturday, Aug. 2, at the Oakland Museum, featuring live music, kid-friendly activities and a star-studded lineup of local chefs from restaurants like \u003ca href=\"https://www.kqed.org/arts/13954899/latina-owned-pr-agency-popoca-oakland-east-bay-if-only-creative\">Popoca\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13978846/new-ethiopian-eritrean-restaurants-bay-area-san-francisco-oakland\">Café Colucci\u003c/a>.\u003c/p>\n\u003cp>According to Gupta, the work of her organization has never felt as radical to her as it has this year. “Something as simple as getting together and celebrating the contributions of immigrants feels dangerous,” she says.\u003c/p>\n\u003cp>Gupta, an East Bay resident and emergency room doctor, explains that she chose barbecue because of the love that so many immigrant communities share for grilled foods. “When you say barbecue in the American lexicon, it conjures up images of hot dogs, hamburgers and, you know, brisket in the South,” Gupta says.\u003c/p>\n\u003cfigure id=\"attachment_13979386\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979386\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Food-BBQ-Without-Borders-2023.jpg\" alt=\"A spread of grilled dishes laid out on a picnic table.\" width=\"2000\" height=\"1125\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Food-BBQ-Without-Borders-2023.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Food-BBQ-Without-Borders-2023-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Food-BBQ-Without-Borders-2023-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Food-BBQ-Without-Borders-2023-1536x864.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A spread of dishes from the 2023 edition of BBQ Without Borders. \u003ccite>(Scott Hoag, courtesy of No Immigrants, No Spice)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The idea of “barbecue without borders” was to flip that script and show that barbecue can consist of \u003ca href=\"https://www.kqed.org/bbq\">many other fire-based dishes\u003c/a>, like Persian pomegranate-molasses grilled chicken wings and intricately spiced Indian barbecue served with gorgeous handmade chutneys.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We like to think of barbecue as a vehicle to introduce people to different cultures,” Gupta explains. “A barbecue conjures up images of community and people sharing. And we think that that’s the perfect place to talk about immigration.”\u003c/p>\n\u003cp>This year’s participating chefs were chosen for both the deliciousness of their food and the fact that their community has been maligned and misrepresented by the current administration in some way. For instance, Café Colucci general manager Daniel Yeshiwas, who will be serving awaze tibs skewers, represents a story of intergenerational hustle — his auntie, Fetlework Tefferi, \u003ca href=\"https://www.kqed.org/arts/13978846/new-ethiopian-eritrean-restaurants-bay-area-san-francisco-oakland\">started the restaurant in the ’90s\u003c/a> and eventually opened the Bay Area’s first Ethiopian spice company. Now, three decades later, she and Yeshiwas have built up an impressive Ethiopian food empire that, as Gupta points out, stands in sharp contrast to Trump’s sneering reference to \u003ca href=\"https://www.nytimes.com/interactive/2018/01/19/world/africa/document-Trump-African-Countries.html\">“shithole” African countries\u003c/a>. Chef Anthony Salguero will serve fresh herb–topped Salvadoran enchiladas. His Oakland restaurant, Popoca, is a love letter to the diverse, nuanced cuisine of El Salvador — a country associated, recently, with the massive CECOT prison where hundreds of alleged gang members have been “disappeared to” without a trial.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cspan style=\"color: #2b2b2b;font-weight: 400\">\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13915306,arts_13904835,arts_13915312",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/span>Meanwhile, Sincere Justice of Oakland’s Tacos Sincero will showcase his unique brand of “Chino-Latino” fusion cuisine — tostadas topped with braised chicken and Sichuan salsa verde, and “Thai pastor” blistered green beans. (Maria Marquez of Tacos Mamá Cuca, who was originally slated to be the third chef, had to pull out due to a family emergency, but she’ll still be featured in an art exhibition that BBQ Without Borders staff are creating to tell each chef’s personal story.)\u003c/p>\n\u003cp>To top things off, Third Culture Bakery will provide desserts, and, as an add-on, a limited number of guests can sign up for a \u003ca href=\"https://www.instagram.com/p/DMGzn0VSmWP/?hl=en\">pani puri party\u003c/a> hosted by chef Preeti Mistry (Juhu Beach Club).\u003c/p>\n\u003cp>There’s also a fundraising element to the event: All proceeds will go toward a “\u003ca href=\"https://www.instagram.com/p/DMQeR6npphG/?img_index=1\">Resilience Fund\u003c/a>,” created in partnership with Oakland’s Unity Council, that will provide cash assistance to undocumented immigrants in the East Bay. The goal is to raise $50,000 to pay for these “micro-grants.” Gupta acknowledges that cutting someone a check for a few hundred dollars isn’t enough to be life-changing — “but if we can help keep someone in their apartment for an extra month, or have someone have enough food so they don’t have to go to work selling flowers on the side of the street because they’re afraid of being picked up by ICE, then that’s a win for us.”\u003c/p>\n\u003cfigure id=\"attachment_13979387\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979387\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Event-Attendees-BBQ-Without-Borders-2023.jpg\" alt=\"A crowd picnicking on a sunny day, including a smiling couple with arms around each other's shoulders\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Event-Attendees-BBQ-Without-Borders-2023.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Event-Attendees-BBQ-Without-Borders-2023-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Event-Attendees-BBQ-Without-Borders-2023-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Event-Attendees-BBQ-Without-Borders-2023-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The goal is to provide a ‘celebratory safe space.’ \u003ccite>(Scott Hoag, courtesy of No Immigrants, No Spice)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The broader hope, Gupta says, is for the barbecue to be a “celebratory safe space” that presents a different image of immigration than the ones currently being blasted across the news media — “people being chased down, windows being broken, like these ICE raids that are happening here and in Los Angeles.”\u003c/p>\n\u003cp>“This event is so important because it gives some dignity back to people, and that’s why we’re doing this,” she says.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://events.humanitix.com/bbq-without-borders-2025\">\u003ci>BBQ Without Borders\u003c/i>\u003c/a>\u003ci> will take place on Saturday, Aug. 2, from 3–7 p.m., at the Oakland Museum of California (1000 Oak St., Oakland). Each chef will offer both meat and vegetarian options. \u003c/i>\u003ca href=\"https://events.humanitix.com/bbq-without-borders-2025/tickets\">\u003ci>Tickets are available online\u003c/i>\u003c/a>\u003ci>. \u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13979378/bbq-without-borders-immigrant-fundraiser-oakland-museum-2025",
"authors": [
"11743"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_12276"
],
"tags": [
"arts_13831",
"arts_10278",
"arts_1297",
"arts_16105",
"arts_1143",
"arts_21830",
"arts_585"
],
"featImg": "arts_13979384",
"label": "source_arts_13979378"
},
"arts_13979065": {
"type": "posts",
"id": "arts_13979065",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13979065",
"score": null,
"sort": [
1753382070000
]
},
"guestAuthors": [],
"slug": "jwalt-love-myself-every-version-of-me-album-oakland",
"title": "For Oakland Rapper Jwalt, One Year of Self-Love Changed Everything",
"publishDate": 1753382070,
"format": "aside",
"headTitle": "For Oakland Rapper Jwalt, One Year of Self-Love Changed Everything | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"content": "\u003cfigure id=\"attachment_13979072\" class=\"wp-caption aligncenter\" style=\"max-width: 1400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979072\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/0-5.jpg\" alt=\"\" width=\"1400\" height=\"1400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/0-5.jpg 1400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/0-5-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/0-5-768x768.jpg 768w\" sizes=\"auto, (max-width: 1400px) 100vw, 1400px\">\u003cfigcaption class=\"wp-caption-text\">Jwalt stops in an alley in downtown Oakland to pose for a photo in gear from Oaklandish. \u003ccite>(Squint)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When \u003ca href=\"https://www.kqed.org/arts/tag/oakland\">Oakland\u003c/a> lyricist \u003ca href=\"https://www.instagram.com/p/DIMxJXIhK21/?img_index=1\" target=\"_blank\" rel=\"noopener\">Jwalt\u003c/a> wrote the song “\u003ca href=\"https://www.youtube.com/watch?v=819J_xeJwmU\" target=\"_blank\" rel=\"noopener\">Love Myself,\u003c/a>” he was in his final semester at NYU.\u003c/p>\n\u003cp>“\u003cspan style=\"font-weight: 400\">I was doing \u003cem>a lot\u003c/em> of things,” says the 23-year-old. \u003c/span>\u003cspan style=\"font-weight: 400\">On top of completing a degree, he was traveling and pursuing a music career — dropping bars on popular platforms like \u003ca href=\"https://www.youtube.com/watch?v=ikJfwBUYFSA\" target=\"_blank\" rel=\"noopener\">\u003cem>Sway’s Universe\u003c/em>\u003c/a> and opening for big names like Nas and the Wu-Tang Clan. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">But Jwalt wasn’t taking care of his basic needs. “\u003c/span>\u003cspan style=\"font-weight: 400\">So I started prioritizing my sleep, eating right, taking care of myself,” he says. “That kind of turned into a little mantra.”\u003c/span>\u003c/p>\n\u003cp>That mantra became a song, and when he dropped it last summer it took off. As the video debuted on BET, the track reached #74 on the iTunes Hip-Hop/Rap Songs chart. The song he made to set himself on a better path was resonating with audiences and launching Jwalt’s career into a new era.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13979073\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/36A159AE-1D1F-42D4-8AFD-23AB41555280-2000x1333.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/36A159AE-1D1F-42D4-8AFD-23AB41555280-2000x1333.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/36A159AE-1D1F-42D4-8AFD-23AB41555280-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/36A159AE-1D1F-42D4-8AFD-23AB41555280-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/36A159AE-1D1F-42D4-8AFD-23AB41555280-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/36A159AE-1D1F-42D4-8AFD-23AB41555280-2048x1365.jpg 2048w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Over the past 18 months, Jwalt has been on the grind. He graduated from college and moved back to Oakland in the spring of 2024. Earlier this year he got engaged, and now he and his partner are expecting a baby girl.\u003c/p>\n\u003cp>On top of all this, Jwalt just dropped a new album. The project, \u003ca href=\"https://open.spotify.com/album/7bEjyXLJnDal5MvoMbMlHf\" target=\"_blank\" rel=\"noopener\">\u003cem>Every Version of Me\u003c/em>\u003c/a>, paints an image of a multifaceted human being who knows how to tell a story on wax. He’s a person who studies hip-hop culture and is enmeshed in his Oakland community. He’s navigated all that comes with being a Black man at a prestigious university and managed to learn the most important lesson any student can ever learn: “You only live once, so now I’m living for peace / I meditate and celebrate, ’cause now I’m living for me,” as he says on the album’s lead single.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=819J_xeJwmU\u003c/p>\n\u003cp>Another standout track from the project, “Graduation,” takes the same sincere tone as “Love Myself” as it gives listeners a glimpse into the artist’s life as a student. He addresses imposter syndrome, survivor’s guilt and classism — not to mention being homesick.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I got people back home who’ve never left Oakland, never left the Bay,” he says, reflecting on the sentiment that pushed him to pen the song. “And being able to go to NYU, and walk around in different spaces but not see anyone who looks like me, it was very abnormal.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">At the time, Jwalt questioned if he belonged. Now he says it was one of the best decisions he’s ever made. \u003c/span>\u003cspan style=\"font-weight: 400\">“I had a class called ‘The Art of the MC’ [taught] by \u003ca href=\"https://www.kqed.org/arts/13834000/between-the-world-and-black-thought\">Black Thought\u003c/a>,” says Jwalt, adding that he now considers the legendary lead MC of The Roots a mentor. \u003c/span>\u003c/p>\n\u003cp>On his latest album, it’s clear that Jwalt’s education in hip-hop began long before he touched down in NYC. One of his earliest “classmates” in the rap game was rising Bay Area artist \u003ca href=\"https://www.kqed.org/arts/13976638/seiji-oda-ethereal-blap-cupcake-no-fillin-human-nature\" target=\"_blank\" rel=\"noopener\">Seiji Oda\u003c/a>.\u003c/p>\n\u003cp>Jwalt and Oda, who is a few years older, grew up as neighbors, and Jwalt recorded some of his earliest tracks at Oda’s house as a young teen. On \u003cem>Every Version of Me\u003c/em>, the two combine forces on a mobby, bass-heavy track produced by \u003ca href=\"https://www.instagram.com/callmeclaydough/?hl=en\" target=\"_blank\" rel=\"noopener\">ClayDough\u003c/a> called “Bay 2 NY.”\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I’ve known Seiji for a while,” says Jwalt. “And being able to see him grow has been dope.” \u003c/span>\u003c/p>\n\u003cp>That’s the case for nearly all the album’s features, which include verses from San Francisco rapper and actor \u003ca href=\"https://www.kqed.org/arts/tag/stunnaman02\" target=\"_blank\" rel=\"noopener\">Stunnaman02\u003c/a> and Oakland singer \u003ca href=\"https://www.instagram.com/shante_music/?hl=en\" target=\"_blank\" rel=\"noopener\">Shanté\u003c/a>. \u003c/p>\n\u003cp>The album also features \u003ca href=\"https://www.instagram.com/1100himself/?hl=en\" target=\"_blank\" rel=\"noopener\">1100 Himself\u003c/a>, \u003ca href=\"https://www.instagram.com/officialyelly/?hl=en\" target=\"_blank\" rel=\"noopener\">Yelly\u003c/a> and\u003ca href=\"https://www.instagram.com/rexxliferaj/?hl=en\" target=\"_blank\" rel=\"noopener\"> Rexx Life Raj\u003c/a>, but one guest appearance steals the show: an interlude from the late actor \u003ca href=\"https://www.kqed.org/arts/13932485/tributes-angus-cloud-euphoria-oakland-osa-kehlani-zendaya-kev-choice-jwalt\" target=\"_blank\" rel=\"noopener\">Angus Cloud\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13979129\" class=\"wp-caption aligncenter\" style=\"max-width: 1053px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979129\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/0-1-2.jpg\" alt=\"\" width=\"1053\" height=\"1580\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/0-1-2.jpg 1053w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/0-1-2-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/0-1-2-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/0-1-2-1024x1536.jpg 1024w\" sizes=\"auto, (max-width: 1053px) 100vw, 1053px\">\u003cfigcaption class=\"wp-caption-text\">Oakland MC Jwalt walks the red carpet at the premiere for the film ‘Freaky Tales.’ \u003ccite>(Azalea Garcia)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Angus was one of my biggest supporters,” Jwalt says, opening up about a friendship that grew into a brotherhood. After a chance meeting at an \u003ca href=\"https://www.oaklandsown1852.com/?srsltid=AfmBOorHpfodkg34y2DUJpx9FRDvE10ufkCzOCNueluQG1gKdvFukvWO\" target=\"_blank\" rel=\"noopener\">Oakland’s Own\u003c/a> clothing pop-up in Jack London Square, the two realized they were both graduates, a few years apart, of the Oakland School for the Arts. From there, a friendship blossomed. \u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We used to talk a lot,” says Jwalt, who has even more archived soundbites from Cloud. “He always encouraged me to keep on going. And when he got his platform he always wanted to share it with other dope artists from Oakland.”\u003c/span>\u003c/p>\n\u003cp>A major component in Jwalt’s young career is how he’s been uplifted by his hometown, individuals and institutions alike.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Y7_pfOCwiqU\u003c/p>\n\u003cp>In just this past year, Jwalt has played in the Reggie Jackson celebrity softball game at the Oakland Coliseum, where he met Oakland A’s legend Rickey Henderson weeks before his untimely passing. He then doubled back to the Coliseum to perform at halftime at \u003ca href=\"https://www.instagram.com/p/DKzzgobpEgj/\" target=\"_blank\" rel=\"noopener\">an Oakland Roots soccer game\u003c/a>.\u003c/p>\n\u003cp>In April, the Oakland Ballers baseball team announced \u003ca href=\"https://www.instagram.com/p/DIAIwcrNuVc/\" target=\"_blank\" rel=\"noopener\">Jwalt as one of its many part-owners\u003c/a> and the author of the team’s new anthem, “\u003ca href=\"https://www.youtube.com/watch?v=Y7_pfOCwiqU\" target=\"_blank\" rel=\"noopener\">Ballers Ballad\u003c/a>.” And last week, the red-haired MC rocked a crowd in front of the baseball stadium during \u003ca href=\"https://www.instagram.com/p/DMGBkyjR_Wq/?img_index=1\" target=\"_blank\" rel=\"noopener\">a community block party\u003c/a>.\u003c/p>\n\u003cp>Next week, on Tuesday, July 29, Jwalt will be the special guest at the \u003ca href=\"https://www.instagram.com/p/DMJAvSlBF__/?img_index=1\" target=\"_blank\" rel=\"noopener\">Men’s Wellness Fellowship\u003c/a> event hosted by \u003ca href=\"http://instagram.com/CHR1ST1VN/\" target=\"_blank\" rel=\"noopener\">Christian Walker\u003c/a> and \u003ca href=\"https://www.instagram.com/karegabailey/\" target=\"_blank\" rel=\"noopener\">Karega Bailey\u003c/a> at the Black Panther Party Museum in downtown Oakland.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I’m someone that’s been a proponent of talking about mental health, especially as a young Black man,” says Jwalt, noting that he, too, struggles with anxiety. \u003c/span>\u003c/p>\n\u003cp>But as a multifaceted artist and a parent, a student of hip-hop and a proud representative of the Town, his biggest aspirations are relatively simple: to tell a story that’s true to his lived experience, and it share it with people who can relate.\u003c/p>\n\u003cp>He’s done exactly that with the song “Love Myself,” and he doesn’t plan on stopping anytime soon.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Jwalt’s latest album, ‘\u003ca href=\"https://open.spotify.com/album/7bEjyXLJnDal5MvoMbMlHf\" target=\"_blank\" rel=\"noopener\">Every Version of Me\u003c/a>,’ is available on all platforms. He speaks at the \u003ca href=\"https://www.instagram.com/menswellnessfellowship/\" target=\"_blank\" rel=\"noopener\">Men’s Wellness Fellowship\u003c/a> on Tuesday, July 29. \u003ca href=\"https://www.menswellnessfellowship.com/?fbclid=PAZXh0bgNhZW0CMTEAAaeT24lUwDQMX5NpPA6Ffnh_tjALXfjiZ1qrsyPrCK7mMj_b_6TgpoHLIHaPNQ_aem_tO6nLQ7_byGv09S2tBkhlg\" target=\"_blank\" rel=\"noopener\">More information here\u003c/a>. \u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "On ‘Every Version of Me,’ the lyricist gets vulnerable about what it took to set his life on a better path.",
"status": "publish",
"parent": 0,
"modified": 1753457408,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 27,
"wordCount": 1123
},
"headData": {
"title": "For Rapper Jwalt, a Year of Self-Love Changed Everything | KQED",
"description": "On ‘Every Version of Me,’ the lyricist gets vulnerable about what it took to set his life on a better path.",
"ogTitle": "For Oakland Rapper Jwalt, One Year of Self-Love Changed Everything",
"ogDescription": "",
"ogImgId": "",
"twTitle": "For Oakland Rapper Jwalt, One Year of Self-Love Changed Everything",
"twDescription": "",
"twImgId": "",
"socialTitle": "For Rapper Jwalt, a Year of Self-Love Changed Everything %%page%% %%sep%% KQED",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "For Oakland Rapper Jwalt, One Year of Self-Love Changed Everything",
"datePublished": "2025-07-24T11:34:30-07:00",
"dateModified": "2025-07-25T08:30:08-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"primaryCategory": {
"termId": 1,
"slug": "arts",
"name": "Arts"
},
"sticky": false,
"nprStoryId": "kqed-13979065",
"templateType": "standard",
"featuredImageType": "standard",
"subhead": "The key to J-Walt's recent personal and professional progress? Healthier choices.",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/13979065/jwalt-love-myself-every-version-of-me-album-oakland",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13979072\" class=\"wp-caption aligncenter\" style=\"max-width: 1400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979072\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/0-5.jpg\" alt=\"\" width=\"1400\" height=\"1400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/0-5.jpg 1400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/0-5-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/0-5-768x768.jpg 768w\" sizes=\"auto, (max-width: 1400px) 100vw, 1400px\">\u003cfigcaption class=\"wp-caption-text\">Jwalt stops in an alley in downtown Oakland to pose for a photo in gear from Oaklandish. \u003ccite>(Squint)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When \u003ca href=\"https://www.kqed.org/arts/tag/oakland\">Oakland\u003c/a> lyricist \u003ca href=\"https://www.instagram.com/p/DIMxJXIhK21/?img_index=1\" target=\"_blank\" rel=\"noopener\">Jwalt\u003c/a> wrote the song “\u003ca href=\"https://www.youtube.com/watch?v=819J_xeJwmU\" target=\"_blank\" rel=\"noopener\">Love Myself,\u003c/a>” he was in his final semester at NYU.\u003c/p>\n\u003cp>“\u003cspan style=\"font-weight: 400\">I was doing \u003cem>a lot\u003c/em> of things,” says the 23-year-old. \u003c/span>\u003cspan style=\"font-weight: 400\">On top of completing a degree, he was traveling and pursuing a music career — dropping bars on popular platforms like \u003ca href=\"https://www.youtube.com/watch?v=ikJfwBUYFSA\" target=\"_blank\" rel=\"noopener\">\u003cem>Sway’s Universe\u003c/em>\u003c/a> and opening for big names like Nas and the Wu-Tang Clan. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">But Jwalt wasn’t taking care of his basic needs. “\u003c/span>\u003cspan style=\"font-weight: 400\">So I started prioritizing my sleep, eating right, taking care of myself,” he says. “That kind of turned into a little mantra.”\u003c/span>\u003c/p>\n\u003cp>That mantra became a song, and when he dropped it last summer it took off. As the video debuted on BET, the track reached #74 on the iTunes Hip-Hop/Rap Songs chart. The song he made to set himself on a better path was resonating with audiences and launching Jwalt’s career into a new era.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13979073\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/36A159AE-1D1F-42D4-8AFD-23AB41555280-2000x1333.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/36A159AE-1D1F-42D4-8AFD-23AB41555280-2000x1333.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/36A159AE-1D1F-42D4-8AFD-23AB41555280-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/36A159AE-1D1F-42D4-8AFD-23AB41555280-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/36A159AE-1D1F-42D4-8AFD-23AB41555280-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/36A159AE-1D1F-42D4-8AFD-23AB41555280-2048x1365.jpg 2048w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Over the past 18 months, Jwalt has been on the grind. He graduated from college and moved back to Oakland in the spring of 2024. Earlier this year he got engaged, and now he and his partner are expecting a baby girl.\u003c/p>\n\u003cp>On top of all this, Jwalt just dropped a new album. The project, \u003ca href=\"https://open.spotify.com/album/7bEjyXLJnDal5MvoMbMlHf\" target=\"_blank\" rel=\"noopener\">\u003cem>Every Version of Me\u003c/em>\u003c/a>, paints an image of a multifaceted human being who knows how to tell a story on wax. He’s a person who studies hip-hop culture and is enmeshed in his Oakland community. He’s navigated all that comes with being a Black man at a prestigious university and managed to learn the most important lesson any student can ever learn: “You only live once, so now I’m living for peace / I meditate and celebrate, ’cause now I’m living for me,” as he says on the album’s lead single.\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/819J_xeJwmU'\n title='//www.youtube.com/embed/819J_xeJwmU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Another standout track from the project, “Graduation,” takes the same sincere tone as “Love Myself” as it gives listeners a glimpse into the artist’s life as a student. He addresses imposter syndrome, survivor’s guilt and classism — not to mention being homesick.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I got people back home who’ve never left Oakland, never left the Bay,” he says, reflecting on the sentiment that pushed him to pen the song. “And being able to go to NYU, and walk around in different spaces but not see anyone who looks like me, it was very abnormal.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">At the time, Jwalt questioned if he belonged. Now he says it was one of the best decisions he’s ever made. \u003c/span>\u003cspan style=\"font-weight: 400\">“I had a class called ‘The Art of the MC’ [taught] by \u003ca href=\"https://www.kqed.org/arts/13834000/between-the-world-and-black-thought\">Black Thought\u003c/a>,” says Jwalt, adding that he now considers the legendary lead MC of The Roots a mentor. \u003c/span>\u003c/p>\n\u003cp>On his latest album, it’s clear that Jwalt’s education in hip-hop began long before he touched down in NYC. One of his earliest “classmates” in the rap game was rising Bay Area artist \u003ca href=\"https://www.kqed.org/arts/13976638/seiji-oda-ethereal-blap-cupcake-no-fillin-human-nature\" target=\"_blank\" rel=\"noopener\">Seiji Oda\u003c/a>.\u003c/p>\n\u003cp>Jwalt and Oda, who is a few years older, grew up as neighbors, and Jwalt recorded some of his earliest tracks at Oda’s house as a young teen. On \u003cem>Every Version of Me\u003c/em>, the two combine forces on a mobby, bass-heavy track produced by \u003ca href=\"https://www.instagram.com/callmeclaydough/?hl=en\" target=\"_blank\" rel=\"noopener\">ClayDough\u003c/a> called “Bay 2 NY.”\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I’ve known Seiji for a while,” says Jwalt. “And being able to see him grow has been dope.” \u003c/span>\u003c/p>\n\u003cp>That’s the case for nearly all the album’s features, which include verses from San Francisco rapper and actor \u003ca href=\"https://www.kqed.org/arts/tag/stunnaman02\" target=\"_blank\" rel=\"noopener\">Stunnaman02\u003c/a> and Oakland singer \u003ca href=\"https://www.instagram.com/shante_music/?hl=en\" target=\"_blank\" rel=\"noopener\">Shanté\u003c/a>. \u003c/p>\n\u003cp>The album also features \u003ca href=\"https://www.instagram.com/1100himself/?hl=en\" target=\"_blank\" rel=\"noopener\">1100 Himself\u003c/a>, \u003ca href=\"https://www.instagram.com/officialyelly/?hl=en\" target=\"_blank\" rel=\"noopener\">Yelly\u003c/a> and\u003ca href=\"https://www.instagram.com/rexxliferaj/?hl=en\" target=\"_blank\" rel=\"noopener\"> Rexx Life Raj\u003c/a>, but one guest appearance steals the show: an interlude from the late actor \u003ca href=\"https://www.kqed.org/arts/13932485/tributes-angus-cloud-euphoria-oakland-osa-kehlani-zendaya-kev-choice-jwalt\" target=\"_blank\" rel=\"noopener\">Angus Cloud\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13979129\" class=\"wp-caption aligncenter\" style=\"max-width: 1053px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979129\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/0-1-2.jpg\" alt=\"\" width=\"1053\" height=\"1580\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/0-1-2.jpg 1053w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/0-1-2-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/0-1-2-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/0-1-2-1024x1536.jpg 1024w\" sizes=\"auto, (max-width: 1053px) 100vw, 1053px\">\u003cfigcaption class=\"wp-caption-text\">Oakland MC Jwalt walks the red carpet at the premiere for the film ‘Freaky Tales.’ \u003ccite>(Azalea Garcia)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Angus was one of my biggest supporters,” Jwalt says, opening up about a friendship that grew into a brotherhood. After a chance meeting at an \u003ca href=\"https://www.oaklandsown1852.com/?srsltid=AfmBOorHpfodkg34y2DUJpx9FRDvE10ufkCzOCNueluQG1gKdvFukvWO\" target=\"_blank\" rel=\"noopener\">Oakland’s Own\u003c/a> clothing pop-up in Jack London Square, the two realized they were both graduates, a few years apart, of the Oakland School for the Arts. From there, a friendship blossomed. \u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We used to talk a lot,” says Jwalt, who has even more archived soundbites from Cloud. “He always encouraged me to keep on going. And when he got his platform he always wanted to share it with other dope artists from Oakland.”\u003c/span>\u003c/p>\n\u003cp>A major component in Jwalt’s young career is how he’s been uplifted by his hometown, individuals and institutions alike.\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/Y7_pfOCwiqU'\n title='//www.youtube.com/embed/Y7_pfOCwiqU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In just this past year, Jwalt has played in the Reggie Jackson celebrity softball game at the Oakland Coliseum, where he met Oakland A’s legend Rickey Henderson weeks before his untimely passing. He then doubled back to the Coliseum to perform at halftime at \u003ca href=\"https://www.instagram.com/p/DKzzgobpEgj/\" target=\"_blank\" rel=\"noopener\">an Oakland Roots soccer game\u003c/a>.\u003c/p>\n\u003cp>In April, the Oakland Ballers baseball team announced \u003ca href=\"https://www.instagram.com/p/DIAIwcrNuVc/\" target=\"_blank\" rel=\"noopener\">Jwalt as one of its many part-owners\u003c/a> and the author of the team’s new anthem, “\u003ca href=\"https://www.youtube.com/watch?v=Y7_pfOCwiqU\" target=\"_blank\" rel=\"noopener\">Ballers Ballad\u003c/a>.” And last week, the red-haired MC rocked a crowd in front of the baseball stadium during \u003ca href=\"https://www.instagram.com/p/DMGBkyjR_Wq/?img_index=1\" target=\"_blank\" rel=\"noopener\">a community block party\u003c/a>.\u003c/p>\n\u003cp>Next week, on Tuesday, July 29, Jwalt will be the special guest at the \u003ca href=\"https://www.instagram.com/p/DMJAvSlBF__/?img_index=1\" target=\"_blank\" rel=\"noopener\">Men’s Wellness Fellowship\u003c/a> event hosted by \u003ca href=\"http://instagram.com/CHR1ST1VN/\" target=\"_blank\" rel=\"noopener\">Christian Walker\u003c/a> and \u003ca href=\"https://www.instagram.com/karegabailey/\" target=\"_blank\" rel=\"noopener\">Karega Bailey\u003c/a> at the Black Panther Party Museum in downtown Oakland.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I’m someone that’s been a proponent of talking about mental health, especially as a young Black man,” says Jwalt, noting that he, too, struggles with anxiety. \u003c/span>\u003c/p>\n\u003cp>But as a multifaceted artist and a parent, a student of hip-hop and a proud representative of the Town, his biggest aspirations are relatively simple: to tell a story that’s true to his lived experience, and it share it with people who can relate.\u003c/p>\n\u003cp>He’s done exactly that with the song “Love Myself,” and he doesn’t plan on stopping anytime soon.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Jwalt’s latest album, ‘\u003ca href=\"https://open.spotify.com/album/7bEjyXLJnDal5MvoMbMlHf\" target=\"_blank\" rel=\"noopener\">Every Version of Me\u003c/a>,’ is available on all platforms. He speaks at the \u003ca href=\"https://www.instagram.com/menswellnessfellowship/\" target=\"_blank\" rel=\"noopener\">Men’s Wellness Fellowship\u003c/a> on Tuesday, July 29. \u003ca href=\"https://www.menswellnessfellowship.com/?fbclid=PAZXh0bgNhZW0CMTEAAaeT24lUwDQMX5NpPA6Ffnh_tjALXfjiZ1qrsyPrCK7mMj_b_6TgpoHLIHaPNQ_aem_tO6nLQ7_byGv09S2tBkhlg\" target=\"_blank\" rel=\"noopener\">More information here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13979065/jwalt-love-myself-every-version-of-me-album-oakland",
"authors": [
"11491"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_69"
],
"tags": [
"arts_8505",
"arts_10278",
"arts_831",
"arts_21801",
"arts_4773",
"arts_1143",
"arts_4693",
"arts_22382"
],
"featImg": "arts_13979153",
"label": "arts_140"
},
"arts_13978938": {
"type": "posts",
"id": "arts_13978938",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13978938",
"score": null,
"sort": [
1752865360000
]
},
"guestAuthors": [],
"slug": "black-spaces-oakland-museum-review",
"title": "‘Black Spaces’ at the Oakland Museum Meditates on Displacement and Reclamation",
"publishDate": 1752865360,
"format": "aside",
"headTitle": "‘Black Spaces’ at the Oakland Museum Meditates on Displacement and Reclamation | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cfigure id=\"attachment_13978945\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/10_Michelle-Vignes_Kenny-Playing-Sax-at-the-De-Luxe-Inn-in-Oakland_1983_Collection-of-the-Oakland-Museum-of-California-Dorothea-Lange-Award-Purchase.jpg\" alt=\"A Black man with his eyes closed plays a saxophone in a dark nightclub while another man sits in a booth nearby, smiling\" width=\"2000\" height=\"1506\" class=\"size-full wp-image-13978945\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/10_Michelle-Vignes_Kenny-Playing-Sax-at-the-De-Luxe-Inn-in-Oakland_1983_Collection-of-the-Oakland-Museum-of-California-Dorothea-Lange-Award-Purchase.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/10_Michelle-Vignes_Kenny-Playing-Sax-at-the-De-Luxe-Inn-in-Oakland_1983_Collection-of-the-Oakland-Museum-of-California-Dorothea-Lange-Award-Purchase-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/10_Michelle-Vignes_Kenny-Playing-Sax-at-the-De-Luxe-Inn-in-Oakland_1983_Collection-of-the-Oakland-Museum-of-California-Dorothea-Lange-Award-Purchase-768x578.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/10_Michelle-Vignes_Kenny-Playing-Sax-at-the-De-Luxe-Inn-in-Oakland_1983_Collection-of-the-Oakland-Museum-of-California-Dorothea-Lange-Award-Purchase-1536x1157.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Michelle Vignes, ‘Kenny Playing Sax at the De Luxe Inn in Oakland,’ 1983. \u003ccite>(Michelle Vignes / Bancroft Library, UC Berkeley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>You don’t have to dig deep to find a story of Black \u003ca href=\"https://www.kqed.org/news/tag/displacement\">displacement\u003c/a> in the Bay Area.\u003c/p>\n\u003cp>Walking through the Lower Haight, I’m reminded of my grandparents being denied an apartment in the 1950s when the landlord flatly stated, “We don’t rent to Blacks.” Meeting a friend recently outside Oracle Park for a Giants game, I couldn’t help but think about how even Willie Mays — a Hall of Fame outfielder and one of the greatest baseball players of all time — was \u003ca href=\"https://www.sfchronicle.com/chronicle_vault/article/Chronicle-Covers-When-Willie-Mays-was-denied-10518685.php\">nearly blocked from buying a home\u003c/a> in San Francisco’s exclusive Sherwood Forest neighborhood in the late 1950s. (Neighbors objected, forcing the mayor to intervene so Mays could close the deal — at $5,000 above the price quoted to white buyers.) \u003c/p>\n\u003cp>Today, Mays has a statue anchoring a plaza named in his honor. Yet the contradiction lingers: celebrated in bronze while the system that excluded him remains largely intact.\u003c/p>\n\u003cp>My family’s story and Willie Mays’ struggle aren’t isolated incidents. They’re threads in a pattern of exclusion stretching back decades in the Bay Area, determining which communities were able to plant roots and which would be systematically uprooted.\u003c/p>\n\u003cfigure id=\"attachment_13978946\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/4_Marion-Coleman_Country-Club-Nights_Circa-2015_Courtesy-Hayward-Area-Historical-Society-scaled.jpg\" alt=\"\" width=\"2560\" height=\"2327\" class=\"size-full wp-image-13978946\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/4_Marion-Coleman_Country-Club-Nights_Circa-2015_Courtesy-Hayward-Area-Historical-Society-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/4_Marion-Coleman_Country-Club-Nights_Circa-2015_Courtesy-Hayward-Area-Historical-Society-2000x1818.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/4_Marion-Coleman_Country-Club-Nights_Circa-2015_Courtesy-Hayward-Area-Historical-Society-160x145.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/4_Marion-Coleman_Country-Club-Nights_Circa-2015_Courtesy-Hayward-Area-Historical-Society-768x698.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/4_Marion-Coleman_Country-Club-Nights_Circa-2015_Courtesy-Hayward-Area-Historical-Society-1536x1396.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/4_Marion-Coleman_Country-Club-Nights_Circa-2015_Courtesy-Hayward-Area-Historical-Society-2048x1861.jpg 2048w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Marion Coleman, ‘Country Club Nights,’ 2014. \u003ccite>(Courtesy of the Hayward Area Historical Society)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That tension — between visibility and erasure, celebration and systemic harm — is what makes \u003ca href=\"https://museumca.org/on-view/black-spaces-reclaim-remain/\">\u003ci>Black Spaces: Reclaim & Remain\u003c/i>\u003c/a> so vital. On view at the \u003ca href=\"https://museumca.org\">Oakland Museum of California \u003c/a>through March 2026, the exhibition does more than document Black displacement; it honors the spaces we built anyway, and the ones we’re still reclaiming.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Curated by OMCA Associate Curator Dania Talley, the exhibit centers on two East Bay communities: West Oakland and the lesser-known \u003ca href=\"https://www.kqed.org/news/11922175/remembering-russell-city-a-thriving-east-bay-town-razed-by-racist-government\">Russell City\u003c/a>, once a vibrant Black and Latino farming town.\u003c/p>\n\u003cp>Museum Director Lori Fogarty first learned about Russell City in 2021, while receiving a national award in Washington, D.C. She’d brought along Carolyn “C.J.” Johnson, CEO of the Black Cultural Zone, as part of OMCA’s delegation. Over dinner, Johnson shared how her family had migrated from Oklahoma and Louisiana to West Oakland, before being displaced to Russell City — one of many families who made a home there before the town was ultimately \u003ca href=\"https://www.kqed.org/news/11897843/decades-after-cultural-genocide-residents-of-a-bulldozed-community-get-apology-from-hayward\">bulldozed in the 1960s to make way for an industrial park\u003c/a>. Fogarty had worked at OMCA for nearly two decades without ever hearing the story. “That had to change,” she said.\u003c/p>\n\u003cfigure id=\"attachment_13978948\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/8_Keith-Dennison_Untitled-A-tank-prepares-to-attack-first-house-in-new-post-office-site-clearance-plan_1960_Collection-of-the-Oakland-Museum-of-California-The-Oakland-Tribune-Collection-scaled.jpg\" alt=\"\" width=\"2560\" height=\"2082\" class=\"size-full wp-image-13978948\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/8_Keith-Dennison_Untitled-A-tank-prepares-to-attack-first-house-in-new-post-office-site-clearance-plan_1960_Collection-of-the-Oakland-Museum-of-California-The-Oakland-Tribune-Collection-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/8_Keith-Dennison_Untitled-A-tank-prepares-to-attack-first-house-in-new-post-office-site-clearance-plan_1960_Collection-of-the-Oakland-Museum-of-California-The-Oakland-Tribune-Collection-2000x1627.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/8_Keith-Dennison_Untitled-A-tank-prepares-to-attack-first-house-in-new-post-office-site-clearance-plan_1960_Collection-of-the-Oakland-Museum-of-California-The-Oakland-Tribune-Collection-160x130.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/8_Keith-Dennison_Untitled-A-tank-prepares-to-attack-first-house-in-new-post-office-site-clearance-plan_1960_Collection-of-the-Oakland-Museum-of-California-The-Oakland-Tribune-Collection-768x625.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/8_Keith-Dennison_Untitled-A-tank-prepares-to-attack-first-house-in-new-post-office-site-clearance-plan_1960_Collection-of-the-Oakland-Museum-of-California-The-Oakland-Tribune-Collection-1536x1249.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/8_Keith-Dennison_Untitled-A-tank-prepares-to-attack-first-house-in-new-post-office-site-clearance-plan_1960_Collection-of-the-Oakland-Museum-of-California-The-Oakland-Tribune-Collection-2048x1666.jpg 2048w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Keith Dennison, ‘Untitled [Sherman tank prepares to destroy homes for post office site],’ 1960. \u003ccite>(Oakland Museum of California / Oakland Tribune Collection)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The exhibit unfolds in three thematic zones: \u003ci>Homeplace\u003c/i>, which explores domestic life under discrimination; \u003ci>Social Fabric\u003c/i>, which celebrates community institutions; and \u003ci>Dispossession and Repair\u003c/i>, which confronts destructive policies and lifts up grassroots resistance.\u003c/p>\n\u003cp>In \u003ci>Homeplace\u003c/i>, artifacts like church fans, diplomas, and a suitcase belonging to Otis Williams, who moved from Louisiana to work in the Marin City shipyards, illustrate personal narratives of migration and “the individual carving out space under systems of exclusion,” as Talley explained at a press preview for the exhibit.\u003c/p>\n\u003cp>[aside postID='news_11897843']In \u003cem>Social Fabric\u003c/em>, visitors encounter churches, jazz venues, and Black-owned businesses that sustained thriving communities. A special highlight is the Oak Center Neighborhood Association, formed in 1963 to fight the city’s redevelopment plans targeting West Oakland. The group ultimately saved over 300 historic Victorian homes from demolition in the mid-1960s, persuading officials to invest in rehabilitation instead. The Oak Center neighborhood remains a symbol of grassroots resistance and \u003ca href=\"https://www.oakcenter.org/\">the power of residents to protect\u003c/a> what they’ve built.\u003c/p>\n\u003cp>\u003ci>Dispossession and Repair\u003c/i> examines the impact of the Housing Act of 1949 and redlining, while spotlighting resistance through maps, oral histories, and community records.\u003c/p>\n\u003cfigure id=\"attachment_13978949\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/12_Adrian-Burrell_film-still-from-Electric-Slide_2025_Courtesy-of-the-artist-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1433\" class=\"size-full wp-image-13978949\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/12_Adrian-Burrell_film-still-from-Electric-Slide_2025_Courtesy-of-the-artist-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/12_Adrian-Burrell_film-still-from-Electric-Slide_2025_Courtesy-of-the-artist-2000x1119.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/12_Adrian-Burrell_film-still-from-Electric-Slide_2025_Courtesy-of-the-artist-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/12_Adrian-Burrell_film-still-from-Electric-Slide_2025_Courtesy-of-the-artist-768x430.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/12_Adrian-Burrell_film-still-from-Electric-Slide_2025_Courtesy-of-the-artist-1536x860.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/12_Adrian-Burrell_film-still-from-Electric-Slide_2025_Courtesy-of-the-artist-2048x1146.jpg 2048w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Adrian Burrell, still from ‘Electric Slide,’ 2025. \u003ccite>(Adrian Burrell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Three commissioned installations deepen the exhibit’s impact. One of the most arresting is by Adrian Burrell, a third-generation Oaklander, who created a towering bottle tree sculpture anchored by a steel base and adorned with glass bottles — an African American folk tradition meant to ward off evil spirits. Tucked within the branches are small video monitors playing intimate home footage: his grandmother’s block parties in Ghost Town, the somber ritual of her funeral, and tender scenes of family life that pulse with joy, grief, and resilience.\u003c/p>\n\u003cp>“This is about rehearsal,” Burrell explained. “Black folks have always practiced for catastrophe. What we’re doing now is just the latest act.”\u003c/p>\n\u003cp>At the Archive of Urban Futures, created by Dr. Brandi T. Summers, visitors can browse zines, maps, and multimedia documents tracing the erasure, commodification and reclamation of Black history in Oakland. “We still call Oakland home, even if we can’t afford to live here anymore,” Summers said. “This space is about holding on to that memory and building from it.”\u003c/p>\n\u003cfigure id=\"attachment_13978947\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/3_Map-of-West-Oakland-1968_Courtesy-of-Segregation-by-Design-scaled.jpg\" alt=\"\" width=\"2560\" height=\"2048\" class=\"size-full wp-image-13978947\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/3_Map-of-West-Oakland-1968_Courtesy-of-Segregation-by-Design-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/3_Map-of-West-Oakland-1968_Courtesy-of-Segregation-by-Design-2000x1600.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/3_Map-of-West-Oakland-1968_Courtesy-of-Segregation-by-Design-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/3_Map-of-West-Oakland-1968_Courtesy-of-Segregation-by-Design-768x614.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/3_Map-of-West-Oakland-1968_Courtesy-of-Segregation-by-Design-1536x1229.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/3_Map-of-West-Oakland-1968_Courtesy-of-Segregation-by-Design-2048x1639.jpg 2048w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Adam P. Susaneck, ‘Oakland: Freeways and Urban Renewal,’ 1968. \u003ccite>(Adam P. Susaneck / Segregation by Design)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A full-scale replica of 2928 Magnolia St. — occupied by \u003ca href=\"https://www.kqed.org/news/11842392/how-moms-4-housing-changed-laws-and-inspired-a-movement\">Moms 4 Housing\u003c/a> in 2019 — serves as both memorial and model for housing justice. Moms 4 Housing co-founder Dominique Walker shared that her son took his first steps in the house, underscoring the importance of having a place to stay. Councilmember Carroll Fife added, “The system that created homelessness is the same one that made Russell City disappear. We have to keep resisting and telling these stories.”\u003c/p>\n\u003cp>During the preview, gallery owner \u003ca href=\"https://www.kqed.org/arts/13955879/jonathan-carver-moore-gallery-residency-market-street\">Jonathan Carver Moore\u003c/a>, who moved to the Bay from D.C. nine years ago, said the exhibit reshaped how he sees these cities. “I never realized how Black San Francisco and Oakland once were. Seeing those photos, the bulldozers, the kids on top of them — it reminded me this was ours.”\u003c/p>\n\u003cp>Comedian and TV host \u003ca href=\"https://www.kqed.org/arts/tag/w-kamau-bell\">W. Kamau Bell\u003c/a> called the exhibition a necessary mirror. “This is exactly what the Oakland Museum of California does best — centering the voices, aesthetics, and needs of Oakland,” he said. “If there was ever a time to focus on reclaiming Black spaces, it’s now. And not just Black spaces, American spaces. This exhibit reminds us how.”\u003c/p>\n\u003cfigure id=\"attachment_13978950\" class=\"wp-caption aligncenter\" style=\"max-width: 1656px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/14.Krista-Pearl-McAtee-Recipes-for-Remembrance-2025.-Digital-collage.-Courtesy-of-the-artist-and-Archive-of-Urban-Futures-scaled.jpg\" alt=\"\" width=\"1656\" height=\"2560\" class=\"size-full wp-image-13978950\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/14.Krista-Pearl-McAtee-Recipes-for-Remembrance-2025.-Digital-collage.-Courtesy-of-the-artist-and-Archive-of-Urban-Futures-scaled.jpg 1656w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/14.Krista-Pearl-McAtee-Recipes-for-Remembrance-2025.-Digital-collage.-Courtesy-of-the-artist-and-Archive-of-Urban-Futures-2000x3092.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/14.Krista-Pearl-McAtee-Recipes-for-Remembrance-2025.-Digital-collage.-Courtesy-of-the-artist-and-Archive-of-Urban-Futures-160x247.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/14.Krista-Pearl-McAtee-Recipes-for-Remembrance-2025.-Digital-collage.-Courtesy-of-the-artist-and-Archive-of-Urban-Futures-768x1187.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/14.Krista-Pearl-McAtee-Recipes-for-Remembrance-2025.-Digital-collage.-Courtesy-of-the-artist-and-Archive-of-Urban-Futures-994x1536.jpg 994w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/14.Krista-Pearl-McAtee-Recipes-for-Remembrance-2025.-Digital-collage.-Courtesy-of-the-artist-and-Archive-of-Urban-Futures-1325x2048.jpg 1325w\" sizes=\"auto, (max-width: 1656px) 100vw, 1656px\">\u003cfigcaption class=\"wp-caption-text\">Krista Pearl McAtee, ‘Recipes for Remembrance,’ 2025. \u003ccite>(Krista Pearl McAtee / Archive of Urban Futures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A statement painted on the gallery wall sums up its emotional core: “Black does not ask permission; it seeps, stretches, and stains. Black is the architecture of the uncontainable.”\u003c/p>\n\u003cp>This is not just a history exhibition. It’s a living memory project, a communal vision board, a space to mourn what was lost and to celebrate what still pulses beneath city streets. If you’ve ever walked past an empty lot and felt a story rise up in your chest—or wondered where the jazz clubs went, or why that corner store became a boutique—this show is for you. And if you haven’t, then it’s definitely for you.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"http://museumca.org/on-view/black-spaces-reclaim-remain\">Black Spaces: Reclaim & Remain\u003c/a>’ is on view through March 1, 2026, at the Oakland Museum of California (\u003ci>1000 Oak Street, Oakland). \u003ca href=\"https://museumca.org/on-view/black-spaces-reclaim-remain/\">Details here\u003c/a>.\u003c/i>\u003c/i>\u003c/p>\n\n",
"blocks": [],
"excerpt": "Russell City, West Oakland and other sites of erasure and resilience inspire this probing show at OMCA.",
"status": "publish",
"parent": 0,
"modified": 1784161502,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 22,
"wordCount": 1252
},
"headData": {
"title": "Review: ‘Black Spaces’ at the Oakland Museum Explores Displacement and Reclamation | KQED",
"description": "Russell City, West Oakland and other sites of erasure and resilience inspire this probing show at OMCA.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"socialTitle": "Review: ‘Black Spaces’ at the Oakland Museum Explores Displacement and Reclamation %%page%% %%sep%% KQED",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "‘Black Spaces’ at the Oakland Museum Meditates on Displacement and Reclamation",
"datePublished": "2025-07-18T12:02:40-07:00",
"dateModified": "2026-07-15T17:25:02-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"primaryCategory": {
"termId": 1,
"slug": "arts",
"name": "Arts"
},
"sticky": false,
"nprStoryId": "kqed-13978938",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"path": "/arts/13978938/black-spaces-oakland-museum-review",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13978945\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/10_Michelle-Vignes_Kenny-Playing-Sax-at-the-De-Luxe-Inn-in-Oakland_1983_Collection-of-the-Oakland-Museum-of-California-Dorothea-Lange-Award-Purchase.jpg\" alt=\"A Black man with his eyes closed plays a saxophone in a dark nightclub while another man sits in a booth nearby, smiling\" width=\"2000\" height=\"1506\" class=\"size-full wp-image-13978945\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/10_Michelle-Vignes_Kenny-Playing-Sax-at-the-De-Luxe-Inn-in-Oakland_1983_Collection-of-the-Oakland-Museum-of-California-Dorothea-Lange-Award-Purchase.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/10_Michelle-Vignes_Kenny-Playing-Sax-at-the-De-Luxe-Inn-in-Oakland_1983_Collection-of-the-Oakland-Museum-of-California-Dorothea-Lange-Award-Purchase-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/10_Michelle-Vignes_Kenny-Playing-Sax-at-the-De-Luxe-Inn-in-Oakland_1983_Collection-of-the-Oakland-Museum-of-California-Dorothea-Lange-Award-Purchase-768x578.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/10_Michelle-Vignes_Kenny-Playing-Sax-at-the-De-Luxe-Inn-in-Oakland_1983_Collection-of-the-Oakland-Museum-of-California-Dorothea-Lange-Award-Purchase-1536x1157.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Michelle Vignes, ‘Kenny Playing Sax at the De Luxe Inn in Oakland,’ 1983. \u003ccite>(Michelle Vignes / Bancroft Library, UC Berkeley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>You don’t have to dig deep to find a story of Black \u003ca href=\"https://www.kqed.org/news/tag/displacement\">displacement\u003c/a> in the Bay Area.\u003c/p>\n\u003cp>Walking through the Lower Haight, I’m reminded of my grandparents being denied an apartment in the 1950s when the landlord flatly stated, “We don’t rent to Blacks.” Meeting a friend recently outside Oracle Park for a Giants game, I couldn’t help but think about how even Willie Mays — a Hall of Fame outfielder and one of the greatest baseball players of all time — was \u003ca href=\"https://www.sfchronicle.com/chronicle_vault/article/Chronicle-Covers-When-Willie-Mays-was-denied-10518685.php\">nearly blocked from buying a home\u003c/a> in San Francisco’s exclusive Sherwood Forest neighborhood in the late 1950s. (Neighbors objected, forcing the mayor to intervene so Mays could close the deal — at $5,000 above the price quoted to white buyers.) \u003c/p>\n\u003cp>Today, Mays has a statue anchoring a plaza named in his honor. Yet the contradiction lingers: celebrated in bronze while the system that excluded him remains largely intact.\u003c/p>\n\u003cp>My family’s story and Willie Mays’ struggle aren’t isolated incidents. They’re threads in a pattern of exclusion stretching back decades in the Bay Area, determining which communities were able to plant roots and which would be systematically uprooted.\u003c/p>\n\u003cfigure id=\"attachment_13978946\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/4_Marion-Coleman_Country-Club-Nights_Circa-2015_Courtesy-Hayward-Area-Historical-Society-scaled.jpg\" alt=\"\" width=\"2560\" height=\"2327\" class=\"size-full wp-image-13978946\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/4_Marion-Coleman_Country-Club-Nights_Circa-2015_Courtesy-Hayward-Area-Historical-Society-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/4_Marion-Coleman_Country-Club-Nights_Circa-2015_Courtesy-Hayward-Area-Historical-Society-2000x1818.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/4_Marion-Coleman_Country-Club-Nights_Circa-2015_Courtesy-Hayward-Area-Historical-Society-160x145.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/4_Marion-Coleman_Country-Club-Nights_Circa-2015_Courtesy-Hayward-Area-Historical-Society-768x698.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/4_Marion-Coleman_Country-Club-Nights_Circa-2015_Courtesy-Hayward-Area-Historical-Society-1536x1396.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/4_Marion-Coleman_Country-Club-Nights_Circa-2015_Courtesy-Hayward-Area-Historical-Society-2048x1861.jpg 2048w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Marion Coleman, ‘Country Club Nights,’ 2014. \u003ccite>(Courtesy of the Hayward Area Historical Society)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That tension — between visibility and erasure, celebration and systemic harm — is what makes \u003ca href=\"https://museumca.org/on-view/black-spaces-reclaim-remain/\">\u003ci>Black Spaces: Reclaim & Remain\u003c/i>\u003c/a> so vital. On view at the \u003ca href=\"https://museumca.org\">Oakland Museum of California \u003c/a>through March 2026, the exhibition does more than document Black displacement; it honors the spaces we built anyway, and the ones we’re still reclaiming.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Curated by OMCA Associate Curator Dania Talley, the exhibit centers on two East Bay communities: West Oakland and the lesser-known \u003ca href=\"https://www.kqed.org/news/11922175/remembering-russell-city-a-thriving-east-bay-town-razed-by-racist-government\">Russell City\u003c/a>, once a vibrant Black and Latino farming town.\u003c/p>\n\u003cp>Museum Director Lori Fogarty first learned about Russell City in 2021, while receiving a national award in Washington, D.C. She’d brought along Carolyn “C.J.” Johnson, CEO of the Black Cultural Zone, as part of OMCA’s delegation. Over dinner, Johnson shared how her family had migrated from Oklahoma and Louisiana to West Oakland, before being displaced to Russell City — one of many families who made a home there before the town was ultimately \u003ca href=\"https://www.kqed.org/news/11897843/decades-after-cultural-genocide-residents-of-a-bulldozed-community-get-apology-from-hayward\">bulldozed in the 1960s to make way for an industrial park\u003c/a>. Fogarty had worked at OMCA for nearly two decades without ever hearing the story. “That had to change,” she said.\u003c/p>\n\u003cfigure id=\"attachment_13978948\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/8_Keith-Dennison_Untitled-A-tank-prepares-to-attack-first-house-in-new-post-office-site-clearance-plan_1960_Collection-of-the-Oakland-Museum-of-California-The-Oakland-Tribune-Collection-scaled.jpg\" alt=\"\" width=\"2560\" height=\"2082\" class=\"size-full wp-image-13978948\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/8_Keith-Dennison_Untitled-A-tank-prepares-to-attack-first-house-in-new-post-office-site-clearance-plan_1960_Collection-of-the-Oakland-Museum-of-California-The-Oakland-Tribune-Collection-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/8_Keith-Dennison_Untitled-A-tank-prepares-to-attack-first-house-in-new-post-office-site-clearance-plan_1960_Collection-of-the-Oakland-Museum-of-California-The-Oakland-Tribune-Collection-2000x1627.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/8_Keith-Dennison_Untitled-A-tank-prepares-to-attack-first-house-in-new-post-office-site-clearance-plan_1960_Collection-of-the-Oakland-Museum-of-California-The-Oakland-Tribune-Collection-160x130.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/8_Keith-Dennison_Untitled-A-tank-prepares-to-attack-first-house-in-new-post-office-site-clearance-plan_1960_Collection-of-the-Oakland-Museum-of-California-The-Oakland-Tribune-Collection-768x625.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/8_Keith-Dennison_Untitled-A-tank-prepares-to-attack-first-house-in-new-post-office-site-clearance-plan_1960_Collection-of-the-Oakland-Museum-of-California-The-Oakland-Tribune-Collection-1536x1249.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/8_Keith-Dennison_Untitled-A-tank-prepares-to-attack-first-house-in-new-post-office-site-clearance-plan_1960_Collection-of-the-Oakland-Museum-of-California-The-Oakland-Tribune-Collection-2048x1666.jpg 2048w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Keith Dennison, ‘Untitled [Sherman tank prepares to destroy homes for post office site],’ 1960. \u003ccite>(Oakland Museum of California / Oakland Tribune Collection)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The exhibit unfolds in three thematic zones: \u003ci>Homeplace\u003c/i>, which explores domestic life under discrimination; \u003ci>Social Fabric\u003c/i>, which celebrates community institutions; and \u003ci>Dispossession and Repair\u003c/i>, which confronts destructive policies and lifts up grassroots resistance.\u003c/p>\n\u003cp>In \u003ci>Homeplace\u003c/i>, artifacts like church fans, diplomas, and a suitcase belonging to Otis Williams, who moved from Louisiana to work in the Marin City shipyards, illustrate personal narratives of migration and “the individual carving out space under systems of exclusion,” as Talley explained at a press preview for the exhibit.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "news_11897843",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>In \u003cem>Social Fabric\u003c/em>, visitors encounter churches, jazz venues, and Black-owned businesses that sustained thriving communities. A special highlight is the Oak Center Neighborhood Association, formed in 1963 to fight the city’s redevelopment plans targeting West Oakland. The group ultimately saved over 300 historic Victorian homes from demolition in the mid-1960s, persuading officials to invest in rehabilitation instead. The Oak Center neighborhood remains a symbol of grassroots resistance and \u003ca href=\"https://www.oakcenter.org/\">the power of residents to protect\u003c/a> what they’ve built.\u003c/p>\n\u003cp>\u003ci>Dispossession and Repair\u003c/i> examines the impact of the Housing Act of 1949 and redlining, while spotlighting resistance through maps, oral histories, and community records.\u003c/p>\n\u003cfigure id=\"attachment_13978949\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/12_Adrian-Burrell_film-still-from-Electric-Slide_2025_Courtesy-of-the-artist-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1433\" class=\"size-full wp-image-13978949\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/12_Adrian-Burrell_film-still-from-Electric-Slide_2025_Courtesy-of-the-artist-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/12_Adrian-Burrell_film-still-from-Electric-Slide_2025_Courtesy-of-the-artist-2000x1119.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/12_Adrian-Burrell_film-still-from-Electric-Slide_2025_Courtesy-of-the-artist-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/12_Adrian-Burrell_film-still-from-Electric-Slide_2025_Courtesy-of-the-artist-768x430.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/12_Adrian-Burrell_film-still-from-Electric-Slide_2025_Courtesy-of-the-artist-1536x860.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/12_Adrian-Burrell_film-still-from-Electric-Slide_2025_Courtesy-of-the-artist-2048x1146.jpg 2048w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Adrian Burrell, still from ‘Electric Slide,’ 2025. \u003ccite>(Adrian Burrell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Three commissioned installations deepen the exhibit’s impact. One of the most arresting is by Adrian Burrell, a third-generation Oaklander, who created a towering bottle tree sculpture anchored by a steel base and adorned with glass bottles — an African American folk tradition meant to ward off evil spirits. Tucked within the branches are small video monitors playing intimate home footage: his grandmother’s block parties in Ghost Town, the somber ritual of her funeral, and tender scenes of family life that pulse with joy, grief, and resilience.\u003c/p>\n\u003cp>“This is about rehearsal,” Burrell explained. “Black folks have always practiced for catastrophe. What we’re doing now is just the latest act.”\u003c/p>\n\u003cp>At the Archive of Urban Futures, created by Dr. Brandi T. Summers, visitors can browse zines, maps, and multimedia documents tracing the erasure, commodification and reclamation of Black history in Oakland. “We still call Oakland home, even if we can’t afford to live here anymore,” Summers said. “This space is about holding on to that memory and building from it.”\u003c/p>\n\u003cfigure id=\"attachment_13978947\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/3_Map-of-West-Oakland-1968_Courtesy-of-Segregation-by-Design-scaled.jpg\" alt=\"\" width=\"2560\" height=\"2048\" class=\"size-full wp-image-13978947\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/3_Map-of-West-Oakland-1968_Courtesy-of-Segregation-by-Design-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/3_Map-of-West-Oakland-1968_Courtesy-of-Segregation-by-Design-2000x1600.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/3_Map-of-West-Oakland-1968_Courtesy-of-Segregation-by-Design-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/3_Map-of-West-Oakland-1968_Courtesy-of-Segregation-by-Design-768x614.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/3_Map-of-West-Oakland-1968_Courtesy-of-Segregation-by-Design-1536x1229.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/3_Map-of-West-Oakland-1968_Courtesy-of-Segregation-by-Design-2048x1639.jpg 2048w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Adam P. Susaneck, ‘Oakland: Freeways and Urban Renewal,’ 1968. \u003ccite>(Adam P. Susaneck / Segregation by Design)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A full-scale replica of 2928 Magnolia St. — occupied by \u003ca href=\"https://www.kqed.org/news/11842392/how-moms-4-housing-changed-laws-and-inspired-a-movement\">Moms 4 Housing\u003c/a> in 2019 — serves as both memorial and model for housing justice. Moms 4 Housing co-founder Dominique Walker shared that her son took his first steps in the house, underscoring the importance of having a place to stay. Councilmember Carroll Fife added, “The system that created homelessness is the same one that made Russell City disappear. We have to keep resisting and telling these stories.”\u003c/p>\n\u003cp>During the preview, gallery owner \u003ca href=\"https://www.kqed.org/arts/13955879/jonathan-carver-moore-gallery-residency-market-street\">Jonathan Carver Moore\u003c/a>, who moved to the Bay from D.C. nine years ago, said the exhibit reshaped how he sees these cities. “I never realized how Black San Francisco and Oakland once were. Seeing those photos, the bulldozers, the kids on top of them — it reminded me this was ours.”\u003c/p>\n\u003cp>Comedian and TV host \u003ca href=\"https://www.kqed.org/arts/tag/w-kamau-bell\">W. Kamau Bell\u003c/a> called the exhibition a necessary mirror. “This is exactly what the Oakland Museum of California does best — centering the voices, aesthetics, and needs of Oakland,” he said. “If there was ever a time to focus on reclaiming Black spaces, it’s now. And not just Black spaces, American spaces. This exhibit reminds us how.”\u003c/p>\n\u003cfigure id=\"attachment_13978950\" class=\"wp-caption aligncenter\" style=\"max-width: 1656px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/14.Krista-Pearl-McAtee-Recipes-for-Remembrance-2025.-Digital-collage.-Courtesy-of-the-artist-and-Archive-of-Urban-Futures-scaled.jpg\" alt=\"\" width=\"1656\" height=\"2560\" class=\"size-full wp-image-13978950\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/14.Krista-Pearl-McAtee-Recipes-for-Remembrance-2025.-Digital-collage.-Courtesy-of-the-artist-and-Archive-of-Urban-Futures-scaled.jpg 1656w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/14.Krista-Pearl-McAtee-Recipes-for-Remembrance-2025.-Digital-collage.-Courtesy-of-the-artist-and-Archive-of-Urban-Futures-2000x3092.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/14.Krista-Pearl-McAtee-Recipes-for-Remembrance-2025.-Digital-collage.-Courtesy-of-the-artist-and-Archive-of-Urban-Futures-160x247.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/14.Krista-Pearl-McAtee-Recipes-for-Remembrance-2025.-Digital-collage.-Courtesy-of-the-artist-and-Archive-of-Urban-Futures-768x1187.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/14.Krista-Pearl-McAtee-Recipes-for-Remembrance-2025.-Digital-collage.-Courtesy-of-the-artist-and-Archive-of-Urban-Futures-994x1536.jpg 994w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/14.Krista-Pearl-McAtee-Recipes-for-Remembrance-2025.-Digital-collage.-Courtesy-of-the-artist-and-Archive-of-Urban-Futures-1325x2048.jpg 1325w\" sizes=\"auto, (max-width: 1656px) 100vw, 1656px\">\u003cfigcaption class=\"wp-caption-text\">Krista Pearl McAtee, ‘Recipes for Remembrance,’ 2025. \u003ccite>(Krista Pearl McAtee / Archive of Urban Futures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A statement painted on the gallery wall sums up its emotional core: “Black does not ask permission; it seeps, stretches, and stains. Black is the architecture of the uncontainable.”\u003c/p>\n\u003cp>This is not just a history exhibition. It’s a living memory project, a communal vision board, a space to mourn what was lost and to celebrate what still pulses beneath city streets. If you’ve ever walked past an empty lot and felt a story rise up in your chest—or wondered where the jazz clubs went, or why that corner store became a boutique—this show is for you. And if you haven’t, then it’s definitely for you.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"http://museumca.org/on-view/black-spaces-reclaim-remain\">Black Spaces: Reclaim & Remain\u003c/a>’ is on view through March 1, 2026, at the Oakland Museum of California (\u003ci>1000 Oak Street, Oakland). \u003ca href=\"https://museumca.org/on-view/black-spaces-reclaim-remain/\">Details here\u003c/a>.\u003c/i>\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13978938/black-spaces-oakland-museum-review",
"authors": [
"12012"
],
"categories": [
"arts_1",
"arts_7862",
"arts_70"
],
"tags": [
"arts_888",
"arts_10278",
"arts_1332",
"arts_1143",
"arts_2755",
"arts_21830",
"arts_769"
],
"featImg": "arts_13978953",
"label": "arts"
}
},
"podcastsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"podcasts": {}
},
"radioProgramsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"radioPrograms": {}
},
"radioSearchSegmentsReducer": {},
"programsReducer": {
"all-things-considered": {
"id": "all-things-considered",
"title": "All Things Considered",
"info": "Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. Michel Martin hosts on the weekends.",
"airtime": "MON-FRI 1pm-2pm, 4:30pm-6:30pm\u003cbr />SAT-SUN 5pm-6pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/All-Things-Considered-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/all-things-considered/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/all-things-considered"
},
"american-suburb-podcast": {
"id": "american-suburb-podcast",
"title": "American Suburb: The Podcast",
"tagline": "The flip side of gentrification, told through one town",
"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg",
"officialWebsiteLink": "/news/series/american-suburb-podcast",
"meta": {
"site": "news",
"source": "kqed",
"order": 19
},
"link": "/news/series/american-suburb-podcast/",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/RBrW",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328",
"tuneIn": "https://tunein.com/radio/American-Suburb-p1086805/",
"rss": "https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"
}
},
"baycurious": {
"id": "baycurious",
"title": "Bay Curious",
"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Bay Curious",
"officialWebsiteLink": "/news/series/baycurious",
"meta": {
"site": "news",
"source": "kqed",
"order": 3
},
"link": "/podcasts/baycurious",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/bay-curious/id1172473406",
"npr": "https://www.npr.org/podcasts/500557090/bay-curious",
"rss": "https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast",
"amazon": "https://music.amazon.com/podcasts/9a90d476-aa04-455d-9a4c-0871ed6216d4/bay-curious",
"stitcher": "https://www.stitcher.com/podcast/kqed/bay-curious",
"spotify": "https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"
}
},
"bbc-world-service": {
"id": "bbc-world-service",
"title": "BBC World Service",
"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
"airtime": "MON-FRI 9pm-10pm, TUE-FRI 1am-2am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.bbc.co.uk/sounds/play/live:bbc_world_service",
"meta": {
"site": "news",
"source": "BBC World Service"
},
"link": "/radio/program/bbc-world-service",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2",
"tuneIn": "https://tunein.com/radio/BBC-World-Service-p455581/",
"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report",
"officialWebsiteLink": "/californiareport",
"meta": {
"site": "news",
"source": "kqed",
"order": 8
},
"link": "/californiareport",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-the-california-report/id79681292",
"amazon": "https://music.amazon.com/podcasts/26099305-72af-4542-9dde-ac1807fe36d5/kqed-s-the-california-report",
"npr": "https://www.npr.org/podcasts/432285393/the-california-report",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-the-california-report-podcast-8838",
"rss": "https://ww2.kqed.org/news/tag/tcram/feed/podcast"
}
},
"californiareportmagazine": {
"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Magazine-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report Magazine",
"officialWebsiteLink": "/californiareportmagazine",
"meta": {
"site": "news",
"source": "kqed",
"order": 10
},
"link": "/californiareportmagazine",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-california-report-magazine/id1314750545",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
"npr": "https://www.npr.org/podcasts/564733126/the-california-report-magazine",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-california-report-magazine",
"rss": "https://ww2.kqed.org/news/tag/tcrmag/feed/podcast"
}
},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
"tagline": "Your irreverent guide to the trends redefining our world",
"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/02/CAT_2_Tile-scaled.jpg",
"imageAlt": "KQED Close All Tabs",
"officialWebsiteLink": "/podcasts/closealltabs",
"meta": {
"site": "news",
"source": "kqed",
"order": 1
},
"link": "/podcasts/closealltabs",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/close-all-tabs/id214663465",
"rss": "https://feeds.megaphone.fm/KQINC6993880386",
"amazon": "https://music.amazon.com/podcasts/92d9d4ac-67a3-4eed-b10a-fb45d45b1ef2/close-all-tabs",
"spotify": "https://open.spotify.com/show/6LAJFHnGK1pYXYzv6SIol6?si=deb0cae19813417c"
}
},
"code-switch-life-kit": {
"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
"airtime": "SUN 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/code-switch-life-kit",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
"spotify": "https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV",
"rss": "https://feeds.npr.org/510312/podcast.xml"
}
},
"commonwealth-club": {
"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.commonwealthclub.org/podcasts",
"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2",
"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
"tuneIn": "https://tunein.com/radio/Commonwealth-Club-of-California-p1060/"
}
},
"forum": {
"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
"officialWebsiteLink": "/forum",
"meta": {
"site": "news",
"source": "kqed",
"order": 9
},
"link": "/forum",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-forum/id73329719",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
"npr": "https://www.npr.org/podcasts/432307980/forum",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-forum-podcast",
"rss": "https://feeds.megaphone.fm/KQINC9557381633"
}
},
"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
"airtime": "MON-FRI 7pm-8pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Fresh-Air-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/fresh-air/",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/fresh-air",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Fresh-Air-p17/",
"rss": "https://feeds.npr.org/381444908/podcast.xml"
}
},
"here-and-now": {
"id": "here-and-now",
"title": "Here & Now",
"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
"airtime": "MON-THU 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Here-And-Now-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://www.wbur.org/hereandnow",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/here-and-now",
"subsdcribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=426698661",
"tuneIn": "https://tunein.com/radio/Here--Now-p211/",
"rss": "https://feeds.npr.org/510051/podcast.xml"
}
},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/hiddenbrain.jpg",
"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
"site": "news",
"source": "NPR"
},
"link": "/radio/program/hidden-brain",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/hidden-brain/id1028908750?mt=2",
"tuneIn": "https://tunein.com/podcasts/Science-Podcasts/Hidden-Brain-p787503/",
"rss": "https://feeds.npr.org/510308/podcast.xml"
}
},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
"tuneIn": "https://tunein.com/podcasts/Arts--Culture-Podcasts/How-I-Built-This-p910896/",
"rss": "https://feeds.npr.org/510313/podcast.xml"
}
},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
"imageAlt": "KQED Hyphenación",
"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
"site": "news",
"source": "kqed",
"order": 15
},
"link": "/podcasts/hyphenacion",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/hyphenaci%C3%B3n/id1191591838",
"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
"youtube": "https://www.youtube.com/c/kqedarts",
"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
"site": "news",
"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
"subscribe": {
"npr": "https://www.npr.org/podcasts/790253322/the-political-mind-of-jerry-brown",
"apple": "https://itunes.apple.com/us/podcast/id1492194549",
"rss": "https://ww2.kqed.org/news/series/jerrybrown/feed/podcast/",
"tuneIn": "http://tun.in/pjGcK",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-political-mind-of-jerry-brown",
"spotify": "https://open.spotify.com/show/54C1dmuyFyKMFttY6X2j6r?si=K8SgRCoISNK6ZbjpXrX5-w",
"amazon": "https://music.amazon.com/podcasts/44420f75-3b0e-4301-ab3b-16da6b09e543/the-political-mind-of-jerry-brown"
}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/xtTd",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Latino-USA-p621/",
"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201853034&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/APM-Marketplace-p88/",
"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
"site": "news",
"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
"spotify": "https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"
}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
"npr": "https://rpb3r.app.goo.gl/onourwatch",
"spotify": "https://open.spotify.com/show/0OLWoyizopu6tY1XiuX70x",
"tuneIn": "https://tunein.com/radio/On-Our-Watch-p1436229/",
"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
"site": "news",
"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
"site": "radio",
"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/id73801135",
"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
}
},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
"site": "radio",
"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/political-breakdown/id1327641087",
"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
"npr": "https://www.npr.org/podcasts/572155894/political-breakdown",
"stitcher": "https://www.stitcher.com/podcast/kqed/political-breakdown",
"spotify": "https://open.spotify.com/show/07RVyIjIdk2WDuVehvBMoN",
"rss": "https://ww2.kqed.org/news/tag/political-breakdown/feed/podcast"
}
},
"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
"meta": {
"site": "news",
"source": "Possible"
},
"link": "/radio/program/possible",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/possible/id1677184070",
"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
}
},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pri.org/programs/the-world",
"meta": {
"site": "news",
"source": "PRI"
},
"link": "/radio/program/pri-the-world",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pris-the-world-latest-edition/id278196007?mt=2",
"tuneIn": "https://tunein.com/podcasts/News--Politics-Podcasts/PRIs-The-World-p24/",
"rss": "http://feeds.feedburner.com/pri/theworld"
}
},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
"airtime": "SUN 12am-1am, SAT 2pm-3pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/radiolab1400.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/radiolab/",
"meta": {
"site": "science",
"source": "WNYC"
},
"link": "/radio/program/radiolab",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/radiolab/id152249110?mt=2",
"tuneIn": "https://tunein.com/radio/RadioLab-p68032/",
"rss": "https://feeds.wnyc.org/radiolab"
}
},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/reveal300px.png",
"officialWebsiteLink": "https://www.revealnews.org/episodes/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/reveal",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/reveal/id886009669",
"tuneIn": "https://tunein.com/radio/Reveal-p679597/",
"rss": "http://feeds.revealradio.org/revealpodcast"
}
},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Rightnowish-Podcast-Tile-500x500-1.jpg",
"imageAlt": "KQED Rightnowish with Pendarvis Harshaw",
"officialWebsiteLink": "/podcasts/rightnowish",
"meta": {
"site": "arts",
"source": "kqed",
"order": 16
},
"link": "/podcasts/rightnowish",
"subscribe": {
"npr": "https://www.npr.org/podcasts/721590300/rightnowish",
"rss": "https://ww2.kqed.org/arts/programs/rightnowish/feed/podcast",
"apple": "https://podcasts.apple.com/us/podcast/rightnowish/id1482187648",
"stitcher": "https://www.stitcher.com/podcast/kqed/rightnowish",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMxMjU5MTY3NDc4",
"spotify": "https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I"
}
},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
"airtime": "FRI 11am-1pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Science-Friday-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/science-friday",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/science-friday",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=73329284&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Science-Friday-p394/",
"rss": "http://feeds.wnyc.org/science-friday"
}
},
"snap-judgment": {
"id": "snap-judgment",
"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
"airtime": "SAT 1pm-2pm, 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/05/Snap-Judgment-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Snap Judgment",
"officialWebsiteLink": "https://snapjudgment.org",
"meta": {
"site": "arts",
"source": "kqed",
"order": 4
},
"link": "https://snapjudgment.org",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/snap-judgment/id283657561",
"npr": "https://www.npr.org/podcasts/449018144/snap-judgment",
"stitcher": "https://www.pandora.com/podcast/snap-judgment/PC:241?source=stitcher-sunset",
"spotify": "https://open.spotify.com/show/3Cct7ZWmxHNAtLgBTqjC5v",
"rss": "https://snap.feed.snapjudgment.org/"
}
},
"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Sold-Out-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Sold Out: Rethinking Housing in America",
"officialWebsiteLink": "/podcasts/soldout",
"meta": {
"site": "news",
"source": "kqed",
"order": 13
},
"link": "/podcasts/soldout",
"subscribe": {
"npr": "https://www.npr.org/podcasts/911586047/s-o-l-d-o-u-t-a-new-future-for-housing",
"apple": "https://podcasts.apple.com/us/podcast/introducing-sold-out-rethinking-housing-in-america/id1531354937",
"rss": "https://feeds.megaphone.fm/soldout",
"spotify": "https://open.spotify.com/show/38dTBSk2ISFoPiyYNoKn1X",
"stitcher": "https://www.stitcher.com/podcast/kqed/sold-out-rethinking-housing-in-america",
"tunein": "https://tunein.com/radio/SOLD-OUT-Rethinking-Housing-in-America-p1365871/"
}
},
"spooked": {
"id": "spooked",
"title": "Spooked",
"tagline": "True-life supernatural stories",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/10/Spooked-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Spooked",
"officialWebsiteLink": "https://spookedpodcast.org/",
"meta": {
"site": "news",
"source": "kqed",
"order": 7
},
"link": "https://spookedpodcast.org/",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/spooked/id1279361017",
"npr": "https://www.npr.org/podcasts/549547848/snap-judgment-presents-spooked",
"spotify": "https://open.spotify.com/show/76571Rfl3m7PLJQZKQIGCT",
"rss": "https://feeds.simplecast.com/TBotaapn"
}
},
"tech-nation": {
"id": "tech-nation",
"title": "Tech Nation Radio Podcast",
"info": "Tech Nation is a weekly public radio program, hosted by Dr. Moira Gunn. Founded in 1993, it has grown from a simple interview show to a multi-faceted production, featuring conversations with noted technology and science leaders, and a weekly science and technology-related commentary.",
"airtime": "FRI 10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Tech-Nation-Radio-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://technation.podomatic.com/",
"meta": {
"site": "science",
"source": "Tech Nation Media"
},
"link": "/radio/program/tech-nation",
"subscribe": {
"rss": "https://technation.podomatic.com/rss2.xml"
}
},
"ted-radio-hour": {
"id": "ted-radio-hour",
"title": "TED Radio Hour",
"info": "The TED Radio Hour is a journey through fascinating ideas, astonishing inventions, fresh approaches to old problems, and new ways to think and create.",
"airtime": "SUN 3pm-4pm, SAT 10pm-11pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/tedRadioHour.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/ted-radio-hour/?showDate=2018-06-22",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/ted-radio-hour",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/8vsS",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=523121474&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/TED-Radio-Hour-p418021/",
"rss": "https://feeds.npr.org/510298/podcast.xml"
}
},
"thebay": {
"id": "thebay",
"title": "The Bay",
"tagline": "Local news to keep you rooted",
"info": "Host Devin Katayama walks you through the biggest story of the day with reporters and newsmakers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Bay-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Bay",
"officialWebsiteLink": "/podcasts/thebay",
"meta": {
"site": "radio",
"source": "kqed",
"order": 2
},
"link": "/podcasts/thebay",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-bay/id1350043452",
"amazon": "https://music.amazon.com/podcasts/d800ea4c-7a2c-42f2-b861-edaf78a5db0b/the-bay",
"npr": "https://www.npr.org/podcasts/586725995/the-bay",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-bay",
"spotify": "https://open.spotify.com/show/4BIKBKIujizLHlIlBNaAqQ",
"rss": "https://feeds.megaphone.fm/KQINC8259786327"
}
},
"thelatest": {
"id": "thelatest",
"title": "The Latest",
"tagline": "Trusted local news in real time",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/05/The-Latest-2025-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Latest",
"officialWebsiteLink": "/thelatest",
"meta": {
"site": "news",
"source": "kqed",
"order": 6
},
"link": "/thelatest",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-latest-from-kqed/id1197721799",
"npr": "https://www.npr.org/podcasts/1257949365/the-latest-from-k-q-e-d",
"spotify": "https://open.spotify.com/show/5KIIXMgM9GTi5AepwOYvIZ?si=bd3053fec7244dba",
"rss": "https://feeds.megaphone.fm/KQINC9137121918"
}
},
"theleap": {
"id": "theleap",
"title": "The Leap",
"tagline": "What if you closed your eyes, and jumped?",
"info": "Stories about people making dramatic, risky changes, told by award-winning public radio reporter Judy Campbell.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Leap-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Leap",
"officialWebsiteLink": "/podcasts/theleap",
"meta": {
"site": "news",
"source": "kqed",
"order": 17
},
"link": "/podcasts/theleap",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-leap/id1046668171",
"npr": "https://www.npr.org/podcasts/447248267/the-leap",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-leap",
"spotify": "https://open.spotify.com/show/3sSlVHHzU0ytLwuGs1SD1U",
"rss": "https://ww2.kqed.org/news/programs/the-leap/feed/podcast"
}
},
"the-moth-radio-hour": {
"id": "the-moth-radio-hour",
"title": "The Moth Radio Hour",
"info": "Since its launch in 1997, The Moth has presented thousands of true stories, told live and without notes, to standing-room-only crowds worldwide. Moth storytellers stand alone, under a spotlight, with only a microphone and a roomful of strangers. The storyteller and the audience embark on a high-wire act of shared experience which is both terrifying and exhilarating. Since 2008, The Moth podcast has featured many of our favorite stories told live on Moth stages around the country. For information on all of our programs and live events, visit themoth.org.",
"airtime": "SAT 8pm-9pm and SUN 11am-12pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/theMoth.jpg",
"officialWebsiteLink": "https://themoth.org/",
"meta": {
"site": "arts",
"source": "prx"
},
"link": "/radio/program/the-moth-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/the-moth-podcast/id275699983?mt=2",
"tuneIn": "https://tunein.com/radio/The-Moth-p273888/",
"rss": "http://feeds.themoth.org/themothpodcast"
}
},
"the-new-yorker-radio-hour": {
"id": "the-new-yorker-radio-hour",
"title": "The New Yorker Radio Hour",
"info": "The New Yorker Radio Hour is a weekly program presented by the magazine's editor, David Remnick, and produced by WNYC Studios and The New Yorker. Each episode features a diverse mix of interviews, profiles, storytelling, and an occasional burst of humor inspired by the magazine, and shaped by its writers, artists, and editors. This isn't a radio version of a magazine, but something all its own, reflecting the rich possibilities of audio storytelling and conversation. Theme music for the show was composed and performed by Merrill Garbus of tUnE-YArDs.",
"airtime": "SAT 10am-11am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-New-Yorker-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/tnyradiohour",
"meta": {
"site": "arts",
"source": "WNYC"
},
"link": "/radio/program/the-new-yorker-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/id1050430296",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/New-Yorker-Radio-Hour-p803804/",
"rss": "https://feeds.feedburner.com/newyorkerradiohour"
}
},
"the-sam-sanders-show": {
"id": "the-sam-sanders-show",
"title": "The Sam Sanders Show",
"info": "One of public radio's most dynamic voices, Sam Sanders helped launch The NPR Politics Podcast and hosted NPR's hit show It's Been A Minute. Now, the award-winning host returns with something brand new, The Sam Sanders Show. Every week, Sam Sanders and friends dig into the culture that shapes our lives: what's driving the biggest trends, how artists really think, and even the memes you can't stop scrolling past. Sam is beloved for his way of unpacking the world and bringing you up close to fresh currents and engaging conversations. The Sam Sanders Show is smart, funny and always a good time.",
"airtime": "FRI 12-1pm AND SAT 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/11/The-Sam-Sanders-Show-Podcast-Tile-400x400-1.jpg",
"officialWebsiteLink": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"meta": {
"site": "arts",
"source": "KCRW"
},
"link": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"subscribe": {
"rss": "https://feed.cdnstream1.com/zjb/feed/download/ac/28/59/ac28594c-e1d0-4231-8728-61865cdc80e8.xml"
}
},
"the-splendid-table": {
"id": "the-splendid-table",
"title": "The Splendid Table",
"info": "\u003cem>The Splendid Table\u003c/em> hosts our nation's conversations about cooking, sustainability and food culture.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Splendid-Table-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.splendidtable.org/",
"airtime": "SUN 10-11 pm",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/the-splendid-table"
},
"this-american-life": {
"id": "this-american-life",
"title": "This American Life",
"info": "This American Life is a weekly public radio show, heard by 2.2 million people on more than 500 stations. Another 2.5 million people download the weekly podcast. It is hosted by Ira Glass, produced in collaboration with Chicago Public Media, delivered to stations by PRX The Public Radio Exchange, and has won all of the major broadcasting awards.",
"airtime": "SAT 12pm-1pm, 7pm-8pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/thisAmericanLife.png",
"officialWebsiteLink": "https://www.thisamericanlife.org/",
"meta": {
"site": "news",
"source": "wbez"
},
"link": "/radio/program/this-american-life",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201671138&at=11l79Y&ct=nprdirectory",
"rss": "https://www.thisamericanlife.org/podcast/rss.xml"
}
},
"tinydeskradio": {
"id": "tinydeskradio",
"title": "Tiny Desk Radio",
"info": "We're bringing the best of Tiny Desk to the airwaves, only on public radio.",
"airtime": "SUN 8pm and SAT 9pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/04/300x300-For-Member-Station-Logo-Tiny-Desk-Radio-@2x.png",
"officialWebsiteLink": "https://www.npr.org/series/g-s1-52030/tiny-desk-radio",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/tinydeskradio",
"subscribe": {
"rss": "https://feeds.npr.org/g-s1-52030/rss.xml"
}
},
"wait-wait-dont-tell-me": {
"id": "wait-wait-dont-tell-me",
"title": "Wait Wait... Don't Tell Me!",
"info": "Peter Sagal and Bill Kurtis host the weekly NPR News quiz show alongside some of the best and brightest news and entertainment personalities.",
"airtime": "SUN 10am-11am, SAT 11am-12pm, SAT 6pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Wait-Wait-Podcast-Tile-300x300-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/wait-wait-dont-tell-me/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/wait-wait-dont-tell-me",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/Xogv",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=121493804&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Wait-Wait-Dont-Tell-Me-p46/",
"rss": "https://feeds.npr.org/344098539/podcast.xml"
}
},
"weekend-edition-saturday": {
"id": "weekend-edition-saturday",
"title": "Weekend Edition Saturday",
"info": "Weekend Edition Saturday wraps up the week's news and offers a mix of analysis and features on a wide range of topics, including arts, sports, entertainment, and human interest stories. The two-hour program is hosted by NPR's Peabody Award-winning Scott Simon.",
"airtime": "SAT 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-saturday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-saturday"
},
"weekend-edition-sunday": {
"id": "weekend-edition-sunday",
"title": "Weekend Edition Sunday",
"info": "Weekend Edition Sunday features interviews with newsmakers, artists, scientists, politicians, musicians, writers, theologians and historians. The program has covered news events from Nelson Mandela's 1990 release from a South African prison to the capture of Saddam Hussein.",
"airtime": "SUN 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-sunday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-sunday"
}
},
"racesReducer": {},
"racesGenElectionReducer": {},
"racesGenElection2026Reducer": {},
"racesGenElection2026PresidentialReducer": {},
"radioSchedulesReducer": {},
"listsReducer": {
"posts/arts?tag=oakland": {
"isFetching": false,
"latestQuery": {
"from": 120,
"size": 12
},
"vitalsOnly": false,
"totalRequested": 12,
"isLoading": false,
"isLoadingMore": true,
"total": {
"value": 831,
"relation": "eq"
},
"items": [
"arts_13981218",
"arts_13980986",
"arts_13980557",
"arts_13980760",
"arts_13980452",
"arts_13980403",
"arts_13979695",
"arts_13979516",
"arts_13979349",
"arts_13979378",
"arts_13979065",
"arts_13978938"
],
"complete": true
}
},
"recallGuideReducer": {
"intros": {},
"policy": {},
"candidates": {}
},
"savedArticleReducer": {
"articles": [],
"status": {}
},
"newslettersReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"newsletters": {},
"isSubscribing": false,
"isUnsubscribing": false,
"subscribedNewsletters": {}
},
"termsReducer": {
"about": {
"name": "About",
"type": "terms",
"id": "about",
"slug": "about",
"link": "/about",
"taxonomy": "site"
},
"arts": {
"name": "Arts & Culture",
"grouping": [
"arts",
"pop",
"trulyca"
],
"description": "KQED Arts provides daily in-depth coverage of the Bay Area's music, art, film, performing arts, literature and arts news, as well as cultural commentary and criticism.",
"type": "terms",
"id": "arts",
"slug": "arts",
"link": "/arts",
"taxonomy": "site"
},
"artschool": {
"name": "Art School",
"parent": "arts",
"type": "terms",
"id": "artschool",
"slug": "artschool",
"link": "/artschool",
"taxonomy": "site"
},
"bayareabites": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"parent": "food",
"type": "terms",
"id": "bayareabites",
"slug": "bayareabites",
"link": "/food",
"taxonomy": "site"
},
"bayareahiphop": {
"name": "Bay Area Hiphop",
"type": "terms",
"id": "bayareahiphop",
"slug": "bayareahiphop",
"link": "/bayareahiphop",
"taxonomy": "site"
},
"campaign21": {
"name": "Campaign 21",
"type": "terms",
"id": "campaign21",
"slug": "campaign21",
"link": "/campaign21",
"taxonomy": "site"
},
"careers": {
"name": "Careers",
"type": "terms",
"id": "careers",
"slug": "careers",
"link": "/careers",
"taxonomy": "site"
},
"checkplease": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"parent": "food",
"type": "terms",
"id": "checkplease",
"slug": "checkplease",
"link": "/food",
"taxonomy": "site"
},
"education": {
"name": "Education",
"grouping": [
"education"
],
"type": "terms",
"id": "education",
"slug": "education",
"link": "/education",
"taxonomy": "site"
},
"elections": {
"name": "Elections",
"type": "terms",
"id": "elections",
"slug": "elections",
"link": "/elections",
"taxonomy": "site"
},
"events": {
"name": "Events",
"type": "terms",
"id": "events",
"slug": "events",
"link": "/events",
"taxonomy": "site"
},
"event": {
"name": "Event",
"alias": "events",
"type": "terms",
"id": "event",
"slug": "event",
"link": "/event",
"taxonomy": "site"
},
"filmschoolshorts": {
"name": "Film School Shorts",
"type": "terms",
"id": "filmschoolshorts",
"slug": "filmschoolshorts",
"link": "/filmschoolshorts",
"taxonomy": "site"
},
"food": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"type": "terms",
"id": "food",
"slug": "food",
"link": "/food",
"taxonomy": "site"
},
"forum": {
"name": "Forum",
"relatedContentQuery": "posts/forum?",
"parent": "news",
"type": "terms",
"id": "forum",
"slug": "forum",
"link": "/forum",
"taxonomy": "site"
},
"futureofyou": {
"name": "Future of You",
"grouping": [
"science",
"futureofyou"
],
"parent": "science",
"type": "terms",
"id": "futureofyou",
"slug": "futureofyou",
"link": "/futureofyou",
"taxonomy": "site"
},
"jpepinheart": {
"name": "KQED food",
"relatedContentQuery": "posts/food,bayareabites,checkplease",
"parent": "food",
"type": "terms",
"id": "jpepinheart",
"slug": "jpepinheart",
"link": "/food",
"taxonomy": "site"
},
"liveblog": {
"name": "Live Blog",
"type": "terms",
"id": "liveblog",
"slug": "liveblog",
"link": "/liveblog",
"taxonomy": "site"
},
"livetv": {
"name": "Live TV",
"parent": "tv",
"type": "terms",
"id": "livetv",
"slug": "livetv",
"link": "/livetv",
"taxonomy": "site"
},
"lowdown": {
"name": "The Lowdown",
"relatedContentQuery": "posts/lowdown?",
"parent": "news",
"type": "terms",
"id": "lowdown",
"slug": "lowdown",
"link": "/lowdown",
"taxonomy": "site"
},
"mindshift": {
"name": "Mindshift",
"parent": "news",
"description": "MindShift explores the future of education by highlighting the innovative – and sometimes counterintuitive – ways educators and parents are helping all children succeed.",
"type": "terms",
"id": "mindshift",
"slug": "mindshift",
"link": "/mindshift",
"taxonomy": "site"
},
"news": {
"name": "News",
"grouping": [
"news",
"forum"
],
"type": "terms",
"id": "news",
"slug": "news",
"link": "/news",
"taxonomy": "site"
},
"newsletters": {
"name": "newsletters",
"type": "terms",
"id": "newsletters",
"slug": "newsletters",
"link": "/newsletters",
"taxonomy": "site"
},
"perspectives": {
"name": "Perspectives",
"parent": "radio",
"type": "terms",
"id": "perspectives",
"slug": "perspectives",
"link": "/perspectives",
"taxonomy": "site"
},
"podcasts": {
"name": "Podcasts",
"type": "terms",
"id": "podcasts",
"slug": "podcasts",
"link": "/podcasts",
"taxonomy": "site"
},
"pop": {
"name": "Pop",
"parent": "arts",
"type": "terms",
"id": "pop",
"slug": "pop",
"link": "/pop",
"taxonomy": "site"
},
"pressroom": {
"name": "Pressroom",
"type": "terms",
"id": "pressroom",
"slug": "pressroom",
"link": "/pressroom",
"taxonomy": "site"
},
"quest": {
"name": "Quest",
"parent": "science",
"type": "terms",
"id": "quest",
"slug": "quest",
"link": "/quest",
"taxonomy": "site"
},
"radio": {
"name": "Radio",
"grouping": [
"forum",
"perspectives"
],
"description": "Listen to KQED Public Radio – home of Forum and The California Report – on 88.5 FM in San Francisco, 89.3 FM in Sacramento, 88.3 FM in Santa Rosa and 88.1 FM in Martinez.",
"type": "terms",
"id": "radio",
"slug": "radio",
"link": "/radio",
"taxonomy": "site"
},
"root": {
"name": "KQED",
"image": "https://ww2.kqed.org/app/uploads/2020/02/KQED-OG-Image@1x.png",
"imageWidth": 1200,
"imageHeight": 630,
"headData": {
"title": "KQED | News, Radio, Podcasts, TV | Public Media for Northern California",
"description": "KQED provides public radio, television, and independent reporting on issues that matter to the Bay Area. We’re the NPR and PBS member station for Northern California."
},
"type": "terms",
"id": "root",
"slug": "root",
"link": "/root",
"taxonomy": "site"
},
"science": {
"name": "Science",
"grouping": [
"science",
"futureofyou"
],
"description": "KQED Science brings you award-winning science and environment coverage from the Bay Area and beyond.",
"type": "terms",
"id": "science",
"slug": "science",
"link": "/science",
"taxonomy": "site"
},
"stateofhealth": {
"name": "State of Health",
"parent": "science",
"type": "terms",
"id": "stateofhealth",
"slug": "stateofhealth",
"link": "/stateofhealth",
"taxonomy": "site"
},
"support": {
"name": "Support",
"type": "terms",
"id": "support",
"slug": "support",
"link": "/support",
"taxonomy": "site"
},
"thedolist": {
"name": "The Do List",
"parent": "arts",
"type": "terms",
"id": "thedolist",
"slug": "thedolist",
"link": "/thedolist",
"taxonomy": "site"
},
"trulyca": {
"name": "Truly CA",
"grouping": [
"arts",
"pop",
"trulyca"
],
"parent": "arts",
"type": "terms",
"id": "trulyca",
"slug": "trulyca",
"link": "/trulyca",
"taxonomy": "site"
},
"tv": {
"name": "TV",
"type": "terms",
"id": "tv",
"slug": "tv",
"link": "/tv",
"taxonomy": "site"
},
"voterguide": {
"name": "Voter Guide",
"parent": "elections",
"alias": "elections",
"type": "terms",
"id": "voterguide",
"slug": "voterguide",
"link": "/voterguide",
"taxonomy": "site"
},
"guiaelectoral": {
"name": "Guia Electoral",
"parent": "elections",
"alias": "elections",
"type": "terms",
"id": "guiaelectoral",
"slug": "guiaelectoral",
"link": "/guiaelectoral",
"taxonomy": "site"
},
"arts_tag_oakland": {
"isLoading": true
},
"arts_1143": {
"type": "terms",
"id": "arts_1143",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1143",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Oakland",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Oakland Archives | KQED Arts",
"ogDescription": null
},
"ttid": 692,
"slug": "oakland",
"isLoading": false,
"link": "/arts/tag/oakland"
},
"source_arts_13981218": {
"type": "terms",
"id": "source_arts_13981218",
"meta": {
"override": true
},
"name": "Food",
"link": "https://www.kqed.org/food",
"isLoading": false
},
"source_arts_13980986": {
"type": "terms",
"id": "source_arts_13980986",
"meta": {
"override": true
},
"name": "The Do List",
"link": "https://www.kqed.org/thedolist",
"isLoading": false
},
"source_arts_13980452": {
"type": "terms",
"id": "source_arts_13980452",
"meta": {
"override": true
},
"name": "The Do List",
"link": "https://www.kqed.org/thedolist",
"isLoading": false
},
"source_arts_13980403": {
"type": "terms",
"id": "source_arts_13980403",
"meta": {
"override": true
},
"name": "Fall Guide 2025 ",
"link": "https://www.kqed.org/arts/tag/fall-guide-2025",
"isLoading": false
},
"source_arts_13979695": {
"type": "terms",
"id": "source_arts_13979695",
"meta": {
"override": true
},
"name": "The Do List",
"link": "https://www.kqed.org/thedolist",
"isLoading": false
},
"source_arts_13979516": {
"type": "terms",
"id": "source_arts_13979516",
"meta": {
"override": true
},
"name": "The Do List",
"link": "https://www.kqed.org/thedolist",
"isLoading": false
},
"source_arts_13979349": {
"type": "terms",
"id": "source_arts_13979349",
"meta": {
"override": true
},
"name": "That's My Word",
"isLoading": false
},
"source_arts_13979378": {
"type": "terms",
"id": "source_arts_13979378",
"meta": {
"override": true
},
"name": "Food",
"link": "https://www.kqed.org/food",
"isLoading": false
},
"arts_140": {
"type": "terms",
"id": "arts_140",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "140",
"found": true
},
"relationships": {},
"name": "The Do List",
"slug": "the-do-list",
"taxonomy": "program",
"description": null,
"featImg": "https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/The-Do-LIst-logo-2014-horizontal-015.png",
"headData": {
"title": "The Do List Archives | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 141,
"isLoading": false,
"link": "/arts/program/the-do-list"
},
"arts_1": {
"type": "terms",
"id": "arts_1",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Arts",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Arts Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1,
"slug": "arts",
"isLoading": false,
"link": "/arts/category/arts"
},
"arts_12276": {
"type": "terms",
"id": "arts_12276",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "12276",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Food",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": "Explore the Bay Area culinary scene through KQED's food stories, recipes, dining experiences, and stories from the diverse tastemakers that define the Bay's cuisines.",
"title": "Bay Area Food Archives, Articles, News, and Reviews | KQED",
"ogDescription": null
},
"ttid": 12288,
"slug": "food",
"isLoading": false,
"link": "/arts/category/food"
},
"arts_235": {
"type": "terms",
"id": "arts_235",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "235",
"found": true
},
"relationships": {},
"featImg": null,
"name": "News",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "News Archives | KQED Arts",
"ogDescription": null
},
"ttid": 236,
"slug": "news",
"isLoading": false,
"link": "/arts/category/news"
},
"arts_2654": {
"type": "terms",
"id": "arts_2654",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2654",
"found": true
},
"relationships": {},
"featImg": null,
"name": "chinatown",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "chinatown Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2666,
"slug": "chinatown",
"isLoading": false,
"link": "/arts/tag/chinatown"
},
"arts_10278": {
"type": "terms",
"id": "arts_10278",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "10278",
"found": true
},
"relationships": {},
"featImg": null,
"name": "featured-arts",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "featured-arts Archives | KQED Arts",
"ogDescription": null
},
"ttid": 10290,
"slug": "featured-arts",
"isLoading": false,
"link": "/arts/tag/featured-arts"
},
"arts_1297": {
"type": "terms",
"id": "arts_1297",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1297",
"found": true
},
"relationships": {},
"featImg": null,
"name": "food",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "food Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1309,
"slug": "food",
"isLoading": false,
"link": "/arts/tag/food"
},
"arts_22344": {
"type": "terms",
"id": "arts_22344",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "22344",
"found": true
},
"relationships": {},
"name": "night market",
"slug": "night-market",
"taxonomy": "tag",
"description": null,
"featImg": null,
"headData": {
"title": "night market | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 22356,
"isLoading": false,
"link": "/arts/tag/night-market"
},
"arts_585": {
"type": "terms",
"id": "arts_585",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "585",
"found": true
},
"relationships": {},
"featImg": null,
"name": "thedolist",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "thedolist Archives | KQED Arts",
"ogDescription": null
},
"ttid": 590,
"slug": "thedolist",
"isLoading": false,
"link": "/arts/tag/thedolist"
},
"arts_21866": {
"type": "terms",
"id": "arts_21866",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21866",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Arts and Culture",
"description": null,
"taxonomy": "interest",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Arts and Culture Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21878,
"slug": "arts-and-culture",
"isLoading": false,
"link": "/arts/interest/arts-and-culture"
},
"arts_21870": {
"type": "terms",
"id": "arts_21870",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21870",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Events",
"description": null,
"taxonomy": "interest",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Events Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21882,
"slug": "events",
"isLoading": false,
"link": "/arts/interest/events"
},
"arts_21865": {
"type": "terms",
"id": "arts_21865",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21865",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Food and Drink",
"description": null,
"taxonomy": "interest",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Food and Drink Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21877,
"slug": "food-and-drink",
"isLoading": false,
"link": "/arts/interest/food-and-drink"
},
"arts_21863": {
"type": "terms",
"id": "arts_21863",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21863",
"found": true
},
"relationships": {},
"featImg": null,
"name": "News",
"description": null,
"taxonomy": "interest",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "News Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21875,
"slug": "news",
"isLoading": false,
"link": "/arts/interest/news"
},
"arts_7862": {
"type": "terms",
"id": "arts_7862",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "7862",
"found": true
},
"relationships": {},
"featImg": null,
"name": "History",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "History Archives | KQED Arts",
"ogDescription": null
},
"ttid": 7874,
"slug": "history",
"isLoading": false,
"link": "/arts/category/history"
},
"arts_22313": {
"type": "terms",
"id": "arts_22313",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "22313",
"found": true
},
"relationships": {},
"name": "The Do List",
"slug": "the-do-list",
"taxonomy": "category",
"description": null,
"featImg": null,
"headData": {
"title": "The Do List | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 22325,
"isLoading": false,
"link": "/arts/category/the-do-list"
},
"arts_4178": {
"type": "terms",
"id": "arts_4178",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "4178",
"found": true
},
"relationships": {},
"featImg": null,
"name": "architecture",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "architecture Archives | KQED Arts",
"ogDescription": null
},
"ttid": 4190,
"slug": "architecture",
"isLoading": false,
"link": "/arts/tag/architecture"
},
"arts_1270": {
"type": "terms",
"id": "arts_1270",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1270",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Berkeley",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Berkeley Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1282,
"slug": "berkeley",
"isLoading": false,
"link": "/arts/tag/berkeley"
},
"arts_7496": {
"type": "terms",
"id": "arts_7496",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "7496",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Fremont",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Fremont Archives | KQED Arts",
"ogDescription": null
},
"ttid": 7508,
"slug": "fremont",
"isLoading": false,
"link": "/arts/tag/fremont"
},
"arts_21868": {
"type": "terms",
"id": "arts_21868",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21868",
"found": true
},
"relationships": {},
"featImg": null,
"name": "California",
"description": null,
"taxonomy": "interest",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "California Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21880,
"slug": "california",
"isLoading": false,
"link": "/arts/interest/california"
},
"arts_69": {
"type": "terms",
"id": "arts_69",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "69",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Music",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Music Archives | KQED Arts",
"ogDescription": null
},
"ttid": 70,
"slug": "music",
"isLoading": false,
"link": "/arts/category/music"
},
"arts_1331": {
"type": "terms",
"id": "arts_1331",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1331",
"found": true
},
"relationships": {},
"featImg": null,
"name": "bay area",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "bay area Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1343,
"slug": "bay-area",
"isLoading": false,
"link": "/arts/tag/bay-area"
},
"arts_1398": {
"type": "terms",
"id": "arts_1398",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1398",
"found": true
},
"relationships": {},
"featImg": null,
"name": "California",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "California Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1410,
"slug": "california",
"isLoading": false,
"link": "/arts/tag/california"
},
"arts_10342": {
"type": "terms",
"id": "arts_10342",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "10342",
"found": true
},
"relationships": {},
"featImg": null,
"name": "editorspick",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "editorspick Archives | KQED Arts",
"ogDescription": null
},
"ttid": 10354,
"slug": "editorspick",
"isLoading": false,
"link": "/arts/tag/editorspick"
},
"arts_21720": {
"type": "terms",
"id": "arts_21720",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21720",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Fatherhood",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Fatherhood Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21732,
"slug": "fatherhood",
"isLoading": false,
"link": "/arts/tag/fatherhood"
},
"arts_10422": {
"type": "terms",
"id": "arts_10422",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "10422",
"found": true
},
"relationships": {},
"featImg": null,
"name": "featured-news",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "featured-news Archives | KQED Arts",
"ogDescription": null
},
"ttid": 10434,
"slug": "featured-news",
"isLoading": false,
"link": "/arts/tag/featured-news"
},
"arts_6298": {
"type": "terms",
"id": "arts_6298",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "6298",
"found": true
},
"relationships": {},
"featImg": null,
"name": "motherhood",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "motherhood Archives | KQED Arts",
"ogDescription": null
},
"ttid": 6310,
"slug": "motherhood",
"isLoading": false,
"link": "/arts/tag/motherhood"
},
"arts_2171": {
"type": "terms",
"id": "arts_2171",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2171",
"found": true
},
"relationships": {},
"featImg": null,
"name": "New Orleans",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "New Orleans Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2183,
"slug": "new-orleans",
"isLoading": false,
"link": "/arts/tag/new-orleans"
},
"arts_22382": {
"type": "terms",
"id": "arts_22382",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "22382",
"found": true
},
"relationships": {},
"name": "rap music",
"slug": "rap-music",
"taxonomy": "tag",
"description": null,
"featImg": null,
"headData": {
"title": "rap music | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 22394,
"isLoading": false,
"link": "/arts/tag/rap-music"
},
"arts_21860": {
"type": "terms",
"id": "arts_21860",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21860",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Oakland",
"description": null,
"taxonomy": "interest",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Oakland Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21872,
"slug": "oakland",
"isLoading": false,
"link": "/arts/interest/oakland"
},
"arts_75": {
"type": "terms",
"id": "arts_75",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "75",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Pop Culture",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Pop Culture Archives | KQED Arts",
"ogDescription": null
},
"ttid": 76,
"slug": "popculture",
"isLoading": false,
"link": "/arts/category/popculture"
},
"arts_21988": {
"type": "terms",
"id": "arts_21988",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21988",
"found": true
},
"relationships": {},
"featImg": null,
"name": "oakland arena",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "oakland arena Archives | KQED Arts",
"ogDescription": null
},
"ttid": 22000,
"slug": "oakland-arena",
"isLoading": false,
"link": "/arts/tag/oakland-arena"
},
"arts_6012": {
"type": "terms",
"id": "arts_6012",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "6012",
"found": true
},
"relationships": {},
"featImg": null,
"name": "pop music",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "pop music Archives | KQED Arts",
"ogDescription": null
},
"ttid": 6024,
"slug": "pop-music",
"isLoading": false,
"link": "/arts/tag/pop-music"
},
"arts_22445": {
"type": "terms",
"id": "arts_22445",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "22445",
"found": true
},
"relationships": {},
"name": "presale code",
"slug": "presale-code",
"taxonomy": "tag",
"description": null,
"featImg": null,
"headData": {
"title": "presale code | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 22457,
"isLoading": false,
"link": "/arts/tag/presale-code"
},
"arts_700": {
"type": "terms",
"id": "arts_700",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "700",
"found": true
},
"relationships": {},
"featImg": null,
"name": "ticket alert",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "ticket alert Archives | KQED Arts",
"ogDescription": null
},
"ttid": 711,
"slug": "ticket-alert",
"isLoading": false,
"link": "/arts/tag/ticket-alert"
},
"arts_4798": {
"type": "terms",
"id": "arts_4798",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "4798",
"found": true
},
"relationships": {},
"featImg": null,
"name": "tickets",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "tickets Archives | KQED Arts",
"ogDescription": null
},
"ttid": 4810,
"slug": "tickets",
"isLoading": false,
"link": "/arts/tag/tickets"
},
"arts_21879": {
"type": "terms",
"id": "arts_21879",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21879",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Entertainment",
"description": null,
"taxonomy": "interest",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Entertainment Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21891,
"slug": "entertainment",
"isLoading": false,
"link": "/arts/interest/entertainment"
},
"arts_74": {
"type": "terms",
"id": "arts_74",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "74",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Movies",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Movies Archives | KQED Arts",
"ogDescription": null
},
"ttid": 75,
"slug": "movies",
"isLoading": false,
"link": "/arts/category/movies"
},
"arts_3852": {
"type": "terms",
"id": "arts_3852",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3852",
"found": true
},
"relationships": {},
"featImg": null,
"name": "filmmaking",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "filmmaking Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3864,
"slug": "filmmaking",
"isLoading": false,
"link": "/arts/tag/filmmaking"
},
"arts_3547": {
"type": "terms",
"id": "arts_3547",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3547",
"found": true
},
"relationships": {},
"featImg": null,
"name": "castro",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "castro Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3559,
"slug": "castro",
"isLoading": false,
"link": "/arts/tag/castro"
},
"arts_2854": {
"type": "terms",
"id": "arts_2854",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2854",
"found": true
},
"relationships": {},
"featImg": null,
"name": "daly city",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "daly city Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2866,
"slug": "daly-city",
"isLoading": false,
"link": "/arts/tag/daly-city"
},
"arts_22551": {
"type": "terms",
"id": "arts_22551",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "22551",
"found": true
},
"relationships": {},
"name": "Fall Guide 2025",
"slug": "fall-guide-2025",
"taxonomy": "tag",
"description": null,
"featImg": null,
"headData": {
"title": "Fall Guide 2025 | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 22563,
"isLoading": false,
"link": "/arts/tag/fall-guide-2025"
},
"arts_22068": {
"type": "terms",
"id": "arts_22068",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "22068",
"found": true
},
"relationships": {},
"featImg": null,
"name": "festivals",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "festivals Archives | KQED Arts",
"ogDescription": null
},
"ttid": 22080,
"slug": "festivals",
"isLoading": false,
"link": "/arts/tag/festivals"
},
"arts_22092": {
"type": "terms",
"id": "arts_22092",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "22092",
"found": true
},
"relationships": {},
"featImg": null,
"name": "lowriders",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "lowriders Archives | KQED Arts",
"ogDescription": null
},
"ttid": 22104,
"slug": "lowriders",
"isLoading": false,
"link": "/arts/tag/lowriders"
},
"arts_4200": {
"type": "terms",
"id": "arts_4200",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "4200",
"found": true
},
"relationships": {},
"featImg": null,
"name": "South San Francisco",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "South San Francisco Archives | KQED Arts",
"ogDescription": null
},
"ttid": 4212,
"slug": "south-san-francisco",
"isLoading": false,
"link": "/arts/tag/south-san-francisco"
},
"arts_1201": {
"type": "terms",
"id": "arts_1201",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1201",
"found": true
},
"relationships": {},
"featImg": null,
"name": "film festivals",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "film festivals Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1213,
"slug": "film-festivals",
"isLoading": false,
"link": "/arts/tag/film-festivals"
},
"arts_966": {
"type": "terms",
"id": "arts_966",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "966",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Dance",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Dance Archives | KQED Arts",
"ogDescription": null
},
"ttid": 984,
"slug": "dance",
"isLoading": false,
"link": "/arts/category/dance"
},
"arts_9693": {
"type": "terms",
"id": "arts_9693",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "9693",
"found": true
},
"relationships": {},
"featImg": null,
"name": "disability",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "disability Archives | KQED Arts",
"ogDescription": null
},
"ttid": 9705,
"slug": "disability",
"isLoading": false,
"link": "/arts/tag/disability"
},
"arts_822": {
"type": "terms",
"id": "arts_822",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "822",
"found": true
},
"relationships": {},
"featImg": null,
"name": "photography",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "photography Archives | KQED Arts",
"ogDescription": null
},
"ttid": 840,
"slug": "photography",
"isLoading": false,
"link": "/arts/tag/photography"
},
"arts_21859": {
"type": "terms",
"id": "arts_21859",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21859",
"found": true
},
"relationships": {},
"featImg": null,
"name": "San Francisco",
"description": null,
"taxonomy": "interest",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "San Francisco Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21871,
"slug": "san-francisco",
"isLoading": false,
"link": "/arts/interest/san-francisco"
},
"arts_8505": {
"type": "terms",
"id": "arts_8505",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "8505",
"found": true
},
"relationships": {},
"featImg": null,
"name": "bay area hip-hop",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "bay area hip-hop Archives | KQED Arts",
"ogDescription": null
},
"ttid": 8517,
"slug": "bay-area-hip-hop",
"isLoading": false,
"link": "/arts/tag/bay-area-hip-hop"
},
"arts_831": {
"type": "terms",
"id": "arts_831",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "831",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Hip Hop",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"socialTitle": "Fresh Off the Streets: Get Amped by the Bay's Hottest Hip-Hop Stories",
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": "Discover rising stars, hidden gems, and live events that'll keep your head nodding. Find your next favorite local hip hop artist right here.",
"metaRobotsNoIndex": "index",
"title": "Fresh Off the Streets: Get Amped by the Bay's Hottest Hip-Hop Stories",
"ogDescription": null
},
"ttid": 849,
"slug": "hip-hop",
"isLoading": false,
"link": "/arts/tag/hip-hop"
},
"arts_19347": {
"type": "terms",
"id": "arts_19347",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "19347",
"found": true
},
"relationships": {},
"featImg": null,
"name": "tmw-latest",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "tmw-latest Archives | KQED Arts",
"ogDescription": null
},
"ttid": 19359,
"slug": "tmw-latest",
"isLoading": false,
"link": "/arts/tag/tmw-latest"
},
"arts_21871": {
"type": "terms",
"id": "arts_21871",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21871",
"found": true
},
"relationships": {},
"featImg": null,
"name": "East Bay",
"description": null,
"taxonomy": "interest",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "East Bay Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21883,
"slug": "east-bay",
"isLoading": false,
"link": "/arts/interest/east-bay"
},
"arts_13831": {
"type": "terms",
"id": "arts_13831",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "13831",
"found": true
},
"relationships": {},
"featImg": null,
"name": "barbecue",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "barbecue Archives | KQED Arts",
"ogDescription": null
},
"ttid": 13843,
"slug": "barbecue",
"isLoading": false,
"link": "/arts/tag/barbecue"
},
"arts_16105": {
"type": "terms",
"id": "arts_16105",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "16105",
"found": true
},
"relationships": {},
"featImg": null,
"name": "immigrants",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "immigrants Archives | KQED Arts",
"ogDescription": null
},
"ttid": 16117,
"slug": "immigrants",
"isLoading": false,
"link": "/arts/tag/immigrants"
},
"arts_21830": {
"type": "terms",
"id": "arts_21830",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21830",
"found": true
},
"relationships": {},
"featImg": null,
"name": "OMCA",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "OMCA Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21842,
"slug": "omca",
"isLoading": false,
"link": "/arts/tag/omca"
},
"arts_21801": {
"type": "terms",
"id": "arts_21801",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21801",
"found": true
},
"relationships": {},
"featImg": null,
"name": "JWalt",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "JWalt Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21813,
"slug": "jwalt",
"isLoading": false,
"link": "/arts/tag/jwalt"
},
"arts_4773": {
"type": "terms",
"id": "arts_4773",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "4773",
"found": true
},
"relationships": {},
"featImg": null,
"name": "mental health",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "mental health Archives | KQED Arts",
"ogDescription": null
},
"ttid": 4785,
"slug": "mental-health",
"isLoading": false,
"link": "/arts/tag/mental-health"
},
"arts_4693": {
"type": "terms",
"id": "arts_4693",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "4693",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Oakland School for the Arts",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Oakland School for the Arts Archives | KQED Arts",
"ogDescription": null
},
"ttid": 4705,
"slug": "oakland-school-for-the-arts",
"isLoading": false,
"link": "/arts/tag/oakland-school-for-the-arts"
},
"arts_70": {
"type": "terms",
"id": "arts_70",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "70",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Visual Arts",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Visual Arts Archives | KQED Arts",
"ogDescription": null
},
"ttid": 71,
"slug": "visualarts",
"isLoading": false,
"link": "/arts/category/visualarts"
},
"arts_888": {
"type": "terms",
"id": "arts_888",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "888",
"found": true
},
"relationships": {},
"featImg": null,
"name": "African American",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "African American Archives | KQED Arts",
"ogDescription": null
},
"ttid": 906,
"slug": "african-american",
"isLoading": false,
"link": "/arts/tag/african-american"
},
"arts_1332": {
"type": "terms",
"id": "arts_1332",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1332",
"found": true
},
"relationships": {},
"featImg": null,
"name": "gentrification",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "gentrification Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1344,
"slug": "gentrification",
"isLoading": false,
"link": "/arts/tag/gentrification"
},
"arts_2755": {
"type": "terms",
"id": "arts_2755",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2755",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Oakland Museum of California",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Oakland Museum of California Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2767,
"slug": "oakland-museum-of-california",
"isLoading": false,
"link": "/arts/tag/oakland-museum-of-california"
},
"arts_769": {
"type": "terms",
"id": "arts_769",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "769",
"found": true
},
"relationships": {},
"featImg": null,
"name": "review",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "review Archives | KQED Arts",
"ogDescription": null
},
"ttid": 787,
"slug": "review",
"isLoading": false,
"link": "/arts/tag/review"
}
},
"userPermissionsReducer": {
"wpLoggedIn": false
},
"eventsReducer": {},
"fssReducer": {},
"tvDailyScheduleReducer": {},
"tvWeeklyScheduleReducer": {},
"tvPrimetimeScheduleReducer": {},
"tvMonthlyScheduleReducer": {},
"userAccountReducer": {
"user": {
"email": null,
"emailStatus": "EMAIL_UNVALIDATED",
"loggedStatus": "LOGGED_OUT",
"loggingChecked": false,
"articles": [],
"firstName": null,
"lastName": null,
"phoneNumber": null,
"fetchingMembership": false,
"membershipError": false,
"memberships": [
{
"id": null,
"startDate": null,
"firstName": null,
"lastName": null,
"familyNumber": null,
"memberNumber": null,
"memberSince": null,
"expirationDate": null,
"pfsEligible": false,
"isSustaining": false,
"membershipLevel": "Prospect",
"membershipStatus": "Non Member",
"lastGiftDate": null,
"renewalDate": null,
"lastDonationAmount": null
}
]
},
"authModal": {
"isOpen": false,
"view": "LANDING_VIEW"
},
"error": null
},
"youthMediaReducer": {},
"checkPleaseReducer": {
"filterData": {
"region": {
"key": "Restaurant Region",
"filters": [
"Any Region"
]
},
"cuisine": {
"key": "Restaurant Cuisine",
"filters": [
"Any Cuisine"
]
}
},
"restaurantDataById": {},
"restaurantIdsSorted": [],
"error": null
},
"userAgentReducer": {
"userAgent": "Mozilla/5.0 AppleWebKit/537.36 (KHTML, like Gecko; compatible; ClaudeBot/1.0; +claudebot@anthropic.com)",
"isBot": true
},
"requestOutcomesReducer": {
"notFound": []
},
"navPromosReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": true,
"promos": {
"news": {
"name": "2026 Voter Guide",
"link": "/voterguide",
"imageURL": "https://cdn.kqed.org/wp-content/uploads/2026/10/Nav-News-Nov2026ElectionCoverage@2x-7bd4aad4.png",
"description": "Get informed in minutes with our Voter Guide for California’s November 3 election."
},
"podcasts-radio": {},
"video-tv": {},
"events": {},
"support": {}
}
}
}