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"content": "\u003cp>Annie Wang remembers eating hot tangyuan soup when she was a kid. On chilly nights — or whenever her parents felt the inclination to prepare them — she’d spoon the chewy, sticky-sweet glutinous rice balls into her mouth. She didn’t think of them as being associated with any particular holiday or cultural tradition. “They were just a treat,” Wang says.\u003c/p>\n\u003cp>For the past two years, Wang has run \u003ca href=\"https://www.instagram.com/anniestcakes/\">Annie’s T Cakes\u003c/a>, a home bakery that specializes in \u003ca href=\"https://www.kqed.org/arts/13908103/lunar-new-year-vegan-mooncake-biscuits-annies-t-cakes\">vegan Chinese and Taiwanese sweets\u003c/a>. The business has provided, among other things, an ongoing cultural education for the baker. Now, Wang knows that tangyuan are traditionally eaten during Lunar New Year — specifically to celebrate the Lantern Festival, which takes place on the 15th and final day of the holiday. She knows that the dessert symbolizes the big family gatherings that typically happen at this time of year because the word “tangyuan” sounds similar to the phrase “tuan yuan,” which means “reunion.”\u003c/p>\n\u003cp>And of course Wang also learned to make her own version, which Annie’s T Cakes will sell this year to help customers ring in the Year of the Rabbit (or the Year of the Cat, if you’re Vietnamese). The tangyuan soup kits can be \u003ca href=\"https://www.anniestcakes.com/\">preordered from now through Jan. 15\u003c/a>, and they’ll be available for pickup in Oakland in the days leading up to Lunar New Year, which falls on Jan. 22 this year.\u003c/p>\n\u003cfigure id=\"attachment_13923556\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13923556\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/tangyuan_black-sesame.jpg\" alt=\"Cross section of a tangyuan (glutinous rice ball) on a spoon, with the black sesame filling visible.\" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/tangyuan_black-sesame.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/tangyuan_black-sesame-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/tangyuan_black-sesame-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/tangyuan_black-sesame-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/tangyuan_black-sesame-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/tangyuan_black-sesame-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/tangyuan_black-sesame-1536x2048.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The tangyuan come in four flavors: black sesame (pictured here), red bean, peanut and ube. \u003ccite>(Courtesy of Annie's T Cakes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>These days Bay Area dessert enthusiasts can buy decent frozen tangyuan all year round at their local 99 Ranch and other Asian grocery stores. Wang’s version is distinctive in part because her tangyuan are fully vegan — many old-school recipes call for the use of lard. And in addition to the most traditional flavors (red bean, peanut and, her favorite, black sesame), Wang has also added a nontraditional, Filipino-inspired ube filling to the lineup this year, using ube paste made by Filipino American chef Ace Boral of Oakland’s \u003ca href=\"https://www.instagram.com/bhk.oakland/?hl=en\">Baba’s House Kitchen\u003c/a>.\u003c/p>\n\u003cp>[aside postID='arts_13911775,arts_13915004']Wang says selling the tangyuan as part of a kit is her way of providing some cultural education for her customers, too. When you buy a package of tangyuan from the grocery store, it might only come with very basic instructions on how to boil the glutinous rice balls. Wang’s kits, on the other hand, also come with a packet of brown sugar, ginger and goji berries and instructions for how to use them to prepare the sweet soup that the tangyuan are traditionally served in.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Many Chinese families would already have these ingredients in their pantry, but for customers who are new to this holiday treat, Wang says she wants to provide “a window into how people usually eat [tangyuan] at home and share them with each other.”\u003c/p>\n\u003cp>“It’s a window into learning the culture of where something comes from,” Wang says.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>The \u003c/i>\u003ca href=\"https://www.anniestcakes.com/\">\u003ci>tangyuan soup kits from Annie’s T Cakes\u003c/i>\u003c/a>\u003ci> ($28 for a kit that includes 16 tangyuan) are available for preorder from now through Jan. 15. Pickup options are at Little Giant Ice Cream (1951 Telegraph Ave., Oakland) from Jan. 19–23 and at Baba’s House Kitchen (450 15th St., Oakland) from Jan. 20–21.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Many Chinese families would already have these ingredients in their pantry, but for customers who are new to this holiday treat, Wang says she wants to provide “a window into how people usually eat [tangyuan] at home and share them with each other.”\u003c/p>\n\u003cp>“It’s a window into learning the culture of where something comes from,” Wang says.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>The \u003c/i>\u003ca href=\"https://www.anniestcakes.com/\">\u003ci>tangyuan soup kits from Annie’s T Cakes\u003c/i>\u003c/a>\u003ci> ($28 for a kit that includes 16 tangyuan) are available for preorder from now through Jan. 15. Pickup options are at Little Giant Ice Cream (1951 Telegraph Ave., Oakland) from Jan. 19–23 and at Baba’s House Kitchen (450 15th St., Oakland) from Jan. 20–21.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "There Was a Punk Show on BART Friday Night",
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"content": "\u003cp>If you live in the Bay Area, you’ve undoubtedly seen some unexpected entertainment on BART in your time. Dancers, magicians, those dudes that hang upside down from poles, drunk people. What you’ve probably \u003cem>never\u003c/em> seen is a car packed to the gills with punks there to see a two-band show.\u003c/p>\n\u003cp>That’s exactly what happened Friday night when noisy San Francisco outfits \u003ca href=\"https://www.instagram.com/falseflagsf/\" target=\"_blank\" rel=\"noopener noreferrer\">False Flag\u003c/a> and \u003ca href=\"https://www.instagram.com/surpriseprivilege/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Surprise Privilege\u003c/a> managed to organize a show on a blue line BART train. Having boarded at the 16th St. Mission station at 7pm, the bands rode to Dublin Pleasanton as more than 100 fans squeezed in along the way — and then, on the way back to the city, started playing.\u003c/p>\n\u003cp>Unbridled chaos ensued:\u003c/p>\n\u003cp>https://www.instagram.com/p/CnGrbg6D2JR/\u003c/p>\n\u003cp>Round of applause for the human mic stand.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Reached by phone the next day, band members said they were surprised at the turnout for what started as “kind of a half-joke” that “we all egged each other on to do,” according to False Flag’s bassist, Pretty. \u003c/p>\n\u003cp>“We weren’t expecting that many people to show up,” she added. “We didn’t even know if we were gonna be able to play because the train was so packed.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/BART.PunkShow.jpg\" alt=\"\" width=\"600\" height=\"712\" class=\"aligncenter size-full wp-image-13923451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/BART.PunkShow.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/BART.PunkShow-160x190.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\u003cp>The show required a fair bit of pre-planning. On Instagram, the bands outlined a timetable of BART stops for attendees; directed them to the rear cars, away from commuters; and reminded everyone to pay their fare, stay civil and pick up after themselves.\u003c/p>\n\u003cp>“It’s not our intention to wreck the place or cause any kind of damage — this is meant to be fun,” they wrote. “Be respectful of each other and don’t let anyone get hurt.”\u003c/p>\n\u003cp>Things went awry six stations in, when the train was stalled at Fruitvale due to an obstructed door. “And BART police got on,” said Pretty, “and were just like, ‘Are you serious right now?’”\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@loserlees/video/7185796606355279150\" data-video-id=\"7185796606355279150\">\n\u003csection>\u003ca title=\"@loserlees\" href=\"https://www.tiktok.com/@loserlees?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">@loserlees\u003c/a> PUNK SHOW ON BART!¡ \u003ca title=\"fyp\" href=\"https://www.tiktok.com/tag/fyp?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#fyp\u003c/a> \u003ca title=\"fypシ\" href=\"https://www.tiktok.com/tag/fyp%E3%82%B7?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#fypシ\u003c/a> \u003ca title=\"punk\" href=\"https://www.tiktok.com/tag/punk?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#punk\u003c/a> \u003ca title=\"bayarea\" href=\"https://www.tiktok.com/tag/bayarea?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#bayarea\u003c/a> \u003ca title=\"sanfrancisco\" href=\"https://www.tiktok.com/tag/sanfrancisco?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#sanfrancisco\u003c/a> \u003ca title=\"diy\" href=\"https://www.tiktok.com/tag/diy?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#DIY\u003c/a> \u003ca title=\"♬ original sound - Lees\" href=\"https://www.tiktok.com/music/original-sound-7185796625409887022?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">♬ original sound – Lees\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>[tiktok]\u003c/p>\n\u003cp>As shown at the end of the above clip, the show was shut down, the cars were evacuated, and at least one reveler was escorted out of the station by authorities while crowds on the platform chanted, “Let him go! Let him go!”\u003c/p>\n\u003cp>Cody, bassist for Surprise Privilege, said the bands still managed to play six songs each, powered by a portable battery — and noted that every band member paid their BART fare.\u003c/p>\n\u003cp>[aside postid='arts_13865042']“All we want to do is raise as much money as possible for BART,” he said. “It’s all just a big publicity campaign to show the world how fine our state-of-the-art public transportation system is.”\u003c/p>\n\u003cp>BART, which \u003ca href=\"https://www.kqed.org/arts/13865042/free-speech-tone-oliver-and-barts-proposed-ban-on-busking\">rejected a 2019 proposal to ban busking on its trains\u003c/a>, did not respond to a request for comment. \u003c/p>\n\u003cp>“The main reaction from the public I’ve seen is people talking about how it must have smelled really bad on the train,” said False Flag guitarist Strong. (“Which it did,” Cody added.)\u003c/p>\n\u003cp>While it lasted, though, the on-train show looked like a damn good time, crowd surfing and all.\u003c/p>\n\u003cp>https://www.instagram.com/p/CnIRhGhSMjf/\u003c/p>\n\u003cp>For those who regret missing a historic slice of what’s known as “\u003ca href=\"https://www.kqed.org/arts/13899154/sunami-review-san-jose-drain-gulch-show\">REAL BAY SHIT\u003c/a>,” and hope for a sequel, the bands’ Instagram post afterward summed it up: “we’re never doing that again lol.”\u003c/p>\n\u003cp>How was \u003cem>your\u003c/em> Friday night?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Reached by phone the next day, band members said they were surprised at the turnout for what started as “kind of a half-joke” that “we all egged each other on to do,” according to False Flag’s bassist, Pretty. \u003c/p>\n\u003cp>“We weren’t expecting that many people to show up,” she added. “We didn’t even know if we were gonna be able to play because the train was so packed.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/BART.PunkShow.jpg\" alt=\"\" width=\"600\" height=\"712\" class=\"aligncenter size-full wp-image-13923451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/BART.PunkShow.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/BART.PunkShow-160x190.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\u003cp>The show required a fair bit of pre-planning. On Instagram, the bands outlined a timetable of BART stops for attendees; directed them to the rear cars, away from commuters; and reminded everyone to pay their fare, stay civil and pick up after themselves.\u003c/p>\n\u003cp>“It’s not our intention to wreck the place or cause any kind of damage — this is meant to be fun,” they wrote. “Be respectful of each other and don’t let anyone get hurt.”\u003c/p>\n\u003cp>Things went awry six stations in, when the train was stalled at Fruitvale due to an obstructed door. “And BART police got on,” said Pretty, “and were just like, ‘Are you serious right now?’”\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@loserlees/video/7185796606355279150\" data-video-id=\"7185796606355279150\">\n\u003csection>\u003ca title=\"@loserlees\" href=\"https://www.tiktok.com/@loserlees?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">@loserlees\u003c/a> PUNK SHOW ON BART!¡ \u003ca title=\"fyp\" href=\"https://www.tiktok.com/tag/fyp?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#fyp\u003c/a> \u003ca title=\"fypシ\" href=\"https://www.tiktok.com/tag/fyp%E3%82%B7?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#fypシ\u003c/a> \u003ca title=\"punk\" href=\"https://www.tiktok.com/tag/punk?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#punk\u003c/a> \u003ca title=\"bayarea\" href=\"https://www.tiktok.com/tag/bayarea?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#bayarea\u003c/a> \u003ca title=\"sanfrancisco\" href=\"https://www.tiktok.com/tag/sanfrancisco?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#sanfrancisco\u003c/a> \u003ca title=\"diy\" href=\"https://www.tiktok.com/tag/diy?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#DIY\u003c/a> \u003ca title=\"♬ original sound - Lees\" href=\"https://www.tiktok.com/music/original-sound-7185796625409887022?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">♬ original sound – Lees\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As shown at the end of the above clip, the show was shut down, the cars were evacuated, and at least one reveler was escorted out of the station by authorities while crowds on the platform chanted, “Let him go! Let him go!”\u003c/p>\n\u003cp>Cody, bassist for Surprise Privilege, said the bands still managed to play six songs each, powered by a portable battery — and noted that every band member paid their BART fare.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“All we want to do is raise as much money as possible for BART,” he said. “It’s all just a big publicity campaign to show the world how fine our state-of-the-art public transportation system is.”\u003c/p>\n\u003cp>BART, which \u003ca href=\"https://www.kqed.org/arts/13865042/free-speech-tone-oliver-and-barts-proposed-ban-on-busking\">rejected a 2019 proposal to ban busking on its trains\u003c/a>, did not respond to a request for comment. \u003c/p>\n\u003cp>“The main reaction from the public I’ve seen is people talking about how it must have smelled really bad on the train,” said False Flag guitarist Strong. (“Which it did,” Cody added.)\u003c/p>\n\u003cp>While it lasted, though, the on-train show looked like a damn good time, crowd surfing and all.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For those who regret missing a historic slice of what’s known as “\u003ca href=\"https://www.kqed.org/arts/13899154/sunami-review-san-jose-drain-gulch-show\">REAL BAY SHIT\u003c/a>,” and hope for a sequel, the bands’ Instagram post afterward summed it up: “we’re never doing that again lol.”\u003c/p>\n\u003cp>How was \u003cem>your\u003c/em> Friday night?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cspan style=\"font-weight: 400\">\u003cem>This episode was originally part of the “\u003ca href=\"https://www.kqed.org/musicrightnowish\" target=\"_blank\" rel=\"noopener noreferrer\">Rightnowish: Musicians to Know\u003c/a>” series from 2021. We’re revisiting it as a part of our 2023 kickoff series highlighting some of the best stories from our archives. \u003c/em>\u003cbr>\n\u003c/span>\u003cbr>\n\u003ca href=\"https://www.instagram.com/nappy_nina/\" target=\"_blank\" rel=\"noopener noreferrer\">Nappy Nina \u003c/a>is a lyricist with a smooth-sultry delivery that’s almost jazz-like, especially when coupled with some signature boom-bap production. In her songs, she raps about breakups, missing Oakland, the disappointing produce in Brooklyn, and navigating rough financial waters.\u003c/p>\n\u003cp>She’s gotten mentions from the \u003ca href=\"https://www.grammy.com/grammys/news/mexican-summer-continues-looking-glass-series-latest-nappy-nina-weight-release\" target=\"_blank\" rel=\"noopener noreferrer\">Grammys\u003c/a> and \u003ca href=\"https://daily.bandcamp.com/features/nappy-nina-feature\" target=\"_blank\" rel=\"noopener noreferrer\">Bandcamp\u003c/a> and she’s been working on a streak of exciting projects. For the educational organization, \u003ca href=\"https://www.flocabulary.com/\">Flocabulary\u003c/a>, Nina was commissioned to pen a rhyme that tells the story of \u003ca href=\"https://www.flocabulary.com/unit/toni-morrison/\">Toni Morrison\u003c/a>. Last time we talked in 2021, she had just released a new single, “\u003ca href=\"https://lucidhaus.bandcamp.com/album/pandemy-stimmy\" target=\"_blank\" rel=\"noopener noreferrer\">Pandemy Stimmy\u003c/a>,” which features Stas THEE Boss and she was on the verge of releasing her EP, \u003cem>Double Down\u003c/em>, in collaboration with New Jersey-based producer, \u003ca href=\"https://www.instagram.com/_jwords/\" target=\"_blank\" rel=\"noopener noreferrer\">J Words\u003c/a>.\u003c/p>\n\u003cp>Two years later Nappy Nina is about to drop more music for her fans, as her project \u003cem>Mourning Due\u003c/em> is set to debut in February.\u003c/p>\n\u003cfigure id=\"attachment_13891535\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13891535\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/1Beat_2019_Nina-4-800x534.jpg\" alt=\"Nappy Nina looks off to her left as she poses for a photo.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1Beat_2019_Nina-4-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1Beat_2019_Nina-4-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1Beat_2019_Nina-4-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1Beat_2019_Nina-4-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1Beat_2019_Nina-4.jpg 1450w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nappy Nina looks off to her left as she poses for a photo. \u003ccite>(Alexia Webster)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This week on Rightnowish, we revisit our conversation with Nappy Nina about her disdain for the term \u003cem>femcee\u003c/em>, how her Bay Area upbringing influences her craft, and how some of my favorite songs came together.\u003c/p>\n\u003ch5 id=\"embed-code\" class=\"inconsolata\">\n\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC4437146614&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003cbr>\n\u003c/h5>\n\u003cp>\u003cstrong>Below are lightly edited excerpts of my conversation with Nappy Nina.\u003c/strong>\u003c/p>\n\u003cp>\u003cem>PEN: …OK, so for folks who’ve never been to East Oakland… how did it influence you? What did you see out there that made you grow into the artist that you are today?\u003c/em>\u003c/p>\n\u003cp>NINA: One of the main influences that I had growing up in East Oakland… just spending a lot of time with my pops, who’s really a community man. He has a couple of radio shows and he’s just really connected to a lot of folks in Oakland. A\u003cspan style=\"font-weight: 400\">nd I think seeing that has made me wanna carry on that tradition within my own work.\u003c/span>\u003c/p>\n\u003cp>\u003cem>PEN: Shout out to Pops. Greg Bridges deep into the jazz game. Did he put you in any jazz artists that stuck with you?\u003c/em>\u003c/p>\n\u003cp>NINA: He tried to put me on so much jazz when I was younger and I was so reluctant. [laughs] I kicked and screamed about it often, like I was in the jazz band in middle school. I play upright bass, I didn’t really appreciate it and hated it at the time. And now I’m just like, yo, why didn’t I just stick with it? That would have been ill.\u003c/p>\n\u003cp>\u003cem>PEN: I could see a middle school upright bass… like the bass is probably as big as you, right?\u003c/em>\u003c/p>\n\u003cp>NINA: Exactly. I had to carry it all around, like, it was just hella inconvenient.\u003c/p>\n\u003cp>\u003cem>PEN:… there’s this thing that you do of calling out “Mencees.”\u003c/em>\u003c/p>\n\u003cp>NINA: Yeah. (laughs)\u003c/p>\n\u003cp>\u003cem>PEN: What’s that all about?\u003c/em>\u003c/p>\n\u003cp>NINA: Man. One day I was just talking to my manager like I’m so frustrated with the “female emcee” lists… And I’ve been on this rampage for a long time. Like nobody is like, ‘Yo. So I know they’re a rapper, but they’re a man. So like just, you know, give them a break.’ There’s no qualifiers for dudes like that. And it’s f—ing ridiculous that eight out of ten times somebody wants to give me props it’s on some, “Yeah. But like she’s a ill Femcee, ya mean,”… I hate it.\u003c/p>\n\u003cp>\u003cem>PEN: …I saw something you did recently. It’s an illustrated piece where you laid down some bars in recognition of Toni Morrison, is it called Flocabulary?\u003c/em>\u003c/p>\n\u003cp>NINA: Yeah. Flocabulary. Yeah. That was dope…So Flocabulary is like a dope app and tool for teachers to teach students, like about all types of different subjects through hip hop. And they reached out to me and they had this Toni Morrison piece in mind. And so I wrote first two verses and a hook. Last I heard, the program was sold to like all of L.A. public schools. So to think that a lot of young Cali kids are learning about Toni Morrison through me… just like makes me smile to the end, I was like, wait, I get to be like the rap Bill Nye. And they were like, yeah (laughs).\u003c/p>\n\u003cp>\u003cem>PEN: … Do you use your music as a catharsis?\u003c/em>\u003c/p>\n\u003cp>NINA : Yeah, always. Always. I don’t know if it’s like the healthiest thing, but I always feel like when I’m not feeling great, then I know that I can probably write some good s–t. Definitely.\u003c/p>\n\u003cp>\u003cem>PEN: Again, you know, like I just I struggle with that. I put myself out there. You have any tips for people who are like maybe scared to release their vulnerabilities?\u003c/em>\u003c/p>\n\u003cp>NINA: I would just say that it’s all going to come out somehow… Like they may come out, you know, with somebody else are like deep in those moments when you’re by yourself, like they’re always going to find you. And for me, that’s kind of just seems like the easiest way to deal with it.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">\u003cem>This episode was originally part of the “\u003ca href=\"https://www.kqed.org/musicrightnowish\" target=\"_blank\" rel=\"noopener noreferrer\">Rightnowish: Musicians to Know\u003c/a>” series from 2021. We’re revisiting it as a part of our 2023 kickoff series highlighting some of the best stories from our archives. \u003c/em>\u003cbr>\n\u003c/span>\u003cbr>\n\u003ca href=\"https://www.instagram.com/nappy_nina/\" target=\"_blank\" rel=\"noopener noreferrer\">Nappy Nina \u003c/a>is a lyricist with a smooth-sultry delivery that’s almost jazz-like, especially when coupled with some signature boom-bap production. In her songs, she raps about breakups, missing Oakland, the disappointing produce in Brooklyn, and navigating rough financial waters.\u003c/p>\n\u003cp>She’s gotten mentions from the \u003ca href=\"https://www.grammy.com/grammys/news/mexican-summer-continues-looking-glass-series-latest-nappy-nina-weight-release\" target=\"_blank\" rel=\"noopener noreferrer\">Grammys\u003c/a> and \u003ca href=\"https://daily.bandcamp.com/features/nappy-nina-feature\" target=\"_blank\" rel=\"noopener noreferrer\">Bandcamp\u003c/a> and she’s been working on a streak of exciting projects. For the educational organization, \u003ca href=\"https://www.flocabulary.com/\">Flocabulary\u003c/a>, Nina was commissioned to pen a rhyme that tells the story of \u003ca href=\"https://www.flocabulary.com/unit/toni-morrison/\">Toni Morrison\u003c/a>. Last time we talked in 2021, she had just released a new single, “\u003ca href=\"https://lucidhaus.bandcamp.com/album/pandemy-stimmy\" target=\"_blank\" rel=\"noopener noreferrer\">Pandemy Stimmy\u003c/a>,” which features Stas THEE Boss and she was on the verge of releasing her EP, \u003cem>Double Down\u003c/em>, in collaboration with New Jersey-based producer, \u003ca href=\"https://www.instagram.com/_jwords/\" target=\"_blank\" rel=\"noopener noreferrer\">J Words\u003c/a>.\u003c/p>\n\u003cp>Two years later Nappy Nina is about to drop more music for her fans, as her project \u003cem>Mourning Due\u003c/em> is set to debut in February.\u003c/p>\n\u003cfigure id=\"attachment_13891535\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13891535\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/1Beat_2019_Nina-4-800x534.jpg\" alt=\"Nappy Nina looks off to her left as she poses for a photo.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1Beat_2019_Nina-4-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1Beat_2019_Nina-4-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1Beat_2019_Nina-4-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1Beat_2019_Nina-4-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1Beat_2019_Nina-4.jpg 1450w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nappy Nina looks off to her left as she poses for a photo. \u003ccite>(Alexia Webster)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This week on Rightnowish, we revisit our conversation with Nappy Nina about her disdain for the term \u003cem>femcee\u003c/em>, how her Bay Area upbringing influences her craft, and how some of my favorite songs came together.\u003c/p>\n\u003ch5 id=\"embed-code\" class=\"inconsolata\">\n\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC4437146614&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003cbr>\n\u003c/h5>\n\u003cp>\u003cstrong>Below are lightly edited excerpts of my conversation with Nappy Nina.\u003c/strong>\u003c/p>\n\u003cp>\u003cem>PEN: …OK, so for folks who’ve never been to East Oakland… how did it influence you? What did you see out there that made you grow into the artist that you are today?\u003c/em>\u003c/p>\n\u003cp>NINA: One of the main influences that I had growing up in East Oakland… just spending a lot of time with my pops, who’s really a community man. He has a couple of radio shows and he’s just really connected to a lot of folks in Oakland. A\u003cspan style=\"font-weight: 400\">nd I think seeing that has made me wanna carry on that tradition within my own work.\u003c/span>\u003c/p>\n\u003cp>\u003cem>PEN: Shout out to Pops. Greg Bridges deep into the jazz game. Did he put you in any jazz artists that stuck with you?\u003c/em>\u003c/p>\n\u003cp>NINA: He tried to put me on so much jazz when I was younger and I was so reluctant. [laughs] I kicked and screamed about it often, like I was in the jazz band in middle school. I play upright bass, I didn’t really appreciate it and hated it at the time. And now I’m just like, yo, why didn’t I just stick with it? That would have been ill.\u003c/p>\n\u003cp>\u003cem>PEN: I could see a middle school upright bass… like the bass is probably as big as you, right?\u003c/em>\u003c/p>\n\u003cp>NINA: Exactly. I had to carry it all around, like, it was just hella inconvenient.\u003c/p>\n\u003cp>\u003cem>PEN:… there’s this thing that you do of calling out “Mencees.”\u003c/em>\u003c/p>\n\u003cp>NINA: Yeah. (laughs)\u003c/p>\n\u003cp>\u003cem>PEN: What’s that all about?\u003c/em>\u003c/p>\n\u003cp>NINA: Man. One day I was just talking to my manager like I’m so frustrated with the “female emcee” lists… And I’ve been on this rampage for a long time. Like nobody is like, ‘Yo. So I know they’re a rapper, but they’re a man. So like just, you know, give them a break.’ There’s no qualifiers for dudes like that. And it’s f—ing ridiculous that eight out of ten times somebody wants to give me props it’s on some, “Yeah. But like she’s a ill Femcee, ya mean,”… I hate it.\u003c/p>\n\u003cp>\u003cem>PEN: …I saw something you did recently. It’s an illustrated piece where you laid down some bars in recognition of Toni Morrison, is it called Flocabulary?\u003c/em>\u003c/p>\n\u003cp>NINA: Yeah. Flocabulary. Yeah. That was dope…So Flocabulary is like a dope app and tool for teachers to teach students, like about all types of different subjects through hip hop. And they reached out to me and they had this Toni Morrison piece in mind. And so I wrote first two verses and a hook. Last I heard, the program was sold to like all of L.A. public schools. So to think that a lot of young Cali kids are learning about Toni Morrison through me… just like makes me smile to the end, I was like, wait, I get to be like the rap Bill Nye. And they were like, yeah (laughs).\u003c/p>\n\u003cp>\u003cem>PEN: … Do you use your music as a catharsis?\u003c/em>\u003c/p>\n\u003cp>NINA : Yeah, always. Always. I don’t know if it’s like the healthiest thing, but I always feel like when I’m not feeling great, then I know that I can probably write some good s–t. Definitely.\u003c/p>\n\u003cp>\u003cem>PEN: Again, you know, like I just I struggle with that. I put myself out there. You have any tips for people who are like maybe scared to release their vulnerabilities?\u003c/em>\u003c/p>\n\u003cp>NINA: I would just say that it’s all going to come out somehow… Like they may come out, you know, with somebody else are like deep in those moments when you’re by yourself, like they’re always going to find you. And for me, that’s kind of just seems like the easiest way to deal with it.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Oakland’s abracadabra Hops in Soapbox Derby Cars for ‘in a photo’",
"headTitle": "Oakland’s abracadabra Hops in Soapbox Derby Cars for ‘in a photo’ | KQED",
"content": "\u003cp>\u003cem>Welcome to Pass the Aux, where KQED Arts & Culture brings you our favorite new tracks by Bay Area artists. \u003ca href=\"https://www.kqed.org/arts/tag/pass-the-aux\" target=\"_blank\" rel=\"noopener noreferrer\">Check out past entries and submit a song for future coverage\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>This one had me from the get-go, powerless before the combination of a groovy bass line and stop-motion animation. The jittery handmade charm that opens abracadabra’s music video for “in a photo” — the first single off their upcoming album \u003ci>shapes & colors\u003c/i> — belies the song’s bright and steady beat. There’s nothing rushed or slapdash about the way the Oakland duo of Hannah Skelton and Chris Niles work their way through this song, a reflection on the difference between idealized images and lived reality.\u003c/p>\n\u003cp>[aside postID='arts_13911741']Decked out in coveralls and ski goggles, Skelton and Niles climb into a giant pencil and its accompanying eraser (real \u003ca href=\"https://www.kqed.org/arts/13911741/soapbox-derby-photos-mclaren-park-san-francisco\">artist-designed soapbox derby cars\u003c/a> that took a star turn at last year’s SFMOMA event in McLaren Park) as Skelton sings a delightful pun in her bell-like voice: “Time flies / on a tiny plane.”\u003c/p>\n\u003cp>\u003ci>Magic School Bus\u003c/i>-style, the musicians ride their vehicles into a bowl of blue Jell-o, emerging with a full band in a kind of underwater prom-themed venue. Alternating between spoken and sung deliveries (and a nice call-and-response I’ll attribute to Niles), the song channels the Tom Tom Club and ESG in all the best ways.\u003c/p>\n\u003cp>abracadabra’s sweetness on “in a photo” is tempered by a cascading minor-key chorus, and the recurring (quite existential!) question of “Will you really ever be the photo?” It’s clear from Skelton’s delivery that you — we — shouldn’t \u003ci>want\u003c/i> to be the photo. The photo is too perfect and no fun at all.\u003c/p>\n\u003cp>Instead, “in a photo” is refreshingly tangible, with a plinky cowbell punctuating Skelton’s lyrics and grins all around. The simple, unadulterated pleasure everyone involved seems to be having is decidedly un-digital, un-smooth and unmediated.\u003c/p>\n\u003cp>If this is an anti-Instagram song, I’m here for it.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=OTmVEFfxRwM&ab_channel=abracadabra\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>abracadabra’s ‘shapes & colors’ is \u003ca href=\"https://abracadabraoakland.bandcamp.com/album/shapes-colors\">out Jan. 20\u003c/a>\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Welcome to Pass the Aux, where KQED Arts & Culture brings you our favorite new tracks by Bay Area artists. \u003ca href=\"https://www.kqed.org/arts/tag/pass-the-aux\" target=\"_blank\" rel=\"noopener noreferrer\">Check out past entries and submit a song for future coverage\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>This one had me from the get-go, powerless before the combination of a groovy bass line and stop-motion animation. The jittery handmade charm that opens abracadabra’s music video for “in a photo” — the first single off their upcoming album \u003ci>shapes & colors\u003c/i> — belies the song’s bright and steady beat. There’s nothing rushed or slapdash about the way the Oakland duo of Hannah Skelton and Chris Niles work their way through this song, a reflection on the difference between idealized images and lived reality.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Decked out in coveralls and ski goggles, Skelton and Niles climb into a giant pencil and its accompanying eraser (real \u003ca href=\"https://www.kqed.org/arts/13911741/soapbox-derby-photos-mclaren-park-san-francisco\">artist-designed soapbox derby cars\u003c/a> that took a star turn at last year’s SFMOMA event in McLaren Park) as Skelton sings a delightful pun in her bell-like voice: “Time flies / on a tiny plane.”\u003c/p>\n\u003cp>\u003ci>Magic School Bus\u003c/i>-style, the musicians ride their vehicles into a bowl of blue Jell-o, emerging with a full band in a kind of underwater prom-themed venue. Alternating between spoken and sung deliveries (and a nice call-and-response I’ll attribute to Niles), the song channels the Tom Tom Club and ESG in all the best ways.\u003c/p>\n\u003cp>abracadabra’s sweetness on “in a photo” is tempered by a cascading minor-key chorus, and the recurring (quite existential!) question of “Will you really ever be the photo?” It’s clear from Skelton’s delivery that you — we — shouldn’t \u003ci>want\u003c/i> to be the photo. The photo is too perfect and no fun at all.\u003c/p>\n\u003cp>Instead, “in a photo” is refreshingly tangible, with a plinky cowbell punctuating Skelton’s lyrics and grins all around. The simple, unadulterated pleasure everyone involved seems to be having is decidedly un-digital, un-smooth and unmediated.\u003c/p>\n\u003cp>If this is an anti-Instagram song, I’m here for it.\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/OTmVEFfxRwM'\n title='//www.youtube.com/embed/OTmVEFfxRwM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>abracadabra’s ‘shapes & colors’ is \u003ca href=\"https://abracadabraoakland.bandcamp.com/album/shapes-colors\">out Jan. 20\u003c/a>\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The Starline Social Club in Oakland will close at the end of 2022, according to the club’s Sam White.\u003c/p>\n\u003cp>“We are sad to announce that Starline Social Club is going up for sale and will cease current operations Jan 1st,” White \u003ca href=\"https://www.instagram.com/p/CmPseQ_PW0j/\">announced in an Instagram post\u003c/a> on Friday afternoon. “We have had an amazing run but it is time for new operators to take over the space and create something new for Oakland.”\u003c/p>\n\u003cp>The nightclub’s final event, a New Year’s Eve party headlined by local Panamanian hip-hop duo Los Rakas, is scheduled for Dec. 31. Several other shows after Jan. 1 have been rescheduled at other Bay Area venues, including Cornerstone, the Ivy Room, Cafe du Nord and the Chapel.\u003c/p>\n\u003cfigure id=\"attachment_13897242\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/Image-from-iOS-3-800x600.jpg\" alt=\"The outside of the shuttered Starline Social Club in Oakland\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13897242\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Image-from-iOS-3-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Image-from-iOS-3-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Image-from-iOS-3-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Image-from-iOS-3-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Image-from-iOS-3-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Image-from-iOS-3-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Image-from-iOS-3-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Starline Social Club sits closed in 2021, during the pandemic. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Starline Social Club opened in 2015 and quickly established itself as an eclectic, unpretentious home for both local and touring artists. A former Odd Fellows hall built in 1893, it has hosted local DJ nights, art shows, and the \u003ca href=\"https://www.youtube.com/watch?v=KbtKceoVkNA\">occasional music video shoot\u003c/a> alongside national acts like \u003ca href=\"https://www.kqed.org/arts/12495357/live-review-solange-at-the-starline-social-club-oakland\">Solange\u003c/a>, PinkPantheress, Hannibal Burress and \u003ca href=\"https://www.kqed.org/arts/11794501/live-review-mitski-kills-em-softly-at-the-starline-in-oakland\">Mitski\u003c/a>.\u003c/p>\n\u003cp>Friday’s statement is not the first time the Starline has announced its closure. In late 2020, during the pandemic, the Starline’s ownership reported its plans to sell the building and the business. The 8,520-square-foot building, which includes a bar, lounge, kitchen and upstairs ballroom, \u003ca href=\"https://www.kqed.org/arts/13887215/end-of-an-era-oakland-venue-starline-social-club-is-on-the-market\">went on the market for $3.2 million\u003c/a>. \u003c/p>\n\u003cp>[aside postID='arts_13897239']Months later, however, the club announced that it would instead reopen as a worker-owned co-op — a move that appeared to be a renaissance for the venue, but that \u003ca href=\"https://www.kqed.org/arts/13897239/former-employees-call-co-op-plans-into-question-at-starline-social-club\">“blindsided” some former employees\u003c/a>, who had been laid off since March 2020. Several told KQED that the owners had not reached out to them personally, and were using their likeness to rebuild their image within the community. Others questioned the $711,514 that the club had received in Payroll Protection Program loans in 2020 and 2021.\u003c/p>\n\u003cp>In his closing announcement on Friday, White appeared to acknowledge the tumult of the past couple years.\u003c/p>\n\u003cp>“A special thanks to our incredible management team and staff who stuck together through all the twists and turns of reopening,” White wrote. “It has been an honor working with all of you. Your generosity and strength has been humbling.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Starline Social Club in Oakland will close at the end of 2022, according to the club’s Sam White.\u003c/p>\n\u003cp>“We are sad to announce that Starline Social Club is going up for sale and will cease current operations Jan 1st,” White \u003ca href=\"https://www.instagram.com/p/CmPseQ_PW0j/\">announced in an Instagram post\u003c/a> on Friday afternoon. “We have had an amazing run but it is time for new operators to take over the space and create something new for Oakland.”\u003c/p>\n\u003cp>The nightclub’s final event, a New Year’s Eve party headlined by local Panamanian hip-hop duo Los Rakas, is scheduled for Dec. 31. Several other shows after Jan. 1 have been rescheduled at other Bay Area venues, including Cornerstone, the Ivy Room, Cafe du Nord and the Chapel.\u003c/p>\n\u003cfigure id=\"attachment_13897242\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/Image-from-iOS-3-800x600.jpg\" alt=\"The outside of the shuttered Starline Social Club in Oakland\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13897242\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Image-from-iOS-3-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Image-from-iOS-3-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Image-from-iOS-3-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Image-from-iOS-3-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Image-from-iOS-3-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Image-from-iOS-3-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Image-from-iOS-3-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Starline Social Club sits closed in 2021, during the pandemic. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Starline Social Club opened in 2015 and quickly established itself as an eclectic, unpretentious home for both local and touring artists. A former Odd Fellows hall built in 1893, it has hosted local DJ nights, art shows, and the \u003ca href=\"https://www.youtube.com/watch?v=KbtKceoVkNA\">occasional music video shoot\u003c/a> alongside national acts like \u003ca href=\"https://www.kqed.org/arts/12495357/live-review-solange-at-the-starline-social-club-oakland\">Solange\u003c/a>, PinkPantheress, Hannibal Burress and \u003ca href=\"https://www.kqed.org/arts/11794501/live-review-mitski-kills-em-softly-at-the-starline-in-oakland\">Mitski\u003c/a>.\u003c/p>\n\u003cp>Friday’s statement is not the first time the Starline has announced its closure. In late 2020, during the pandemic, the Starline’s ownership reported its plans to sell the building and the business. The 8,520-square-foot building, which includes a bar, lounge, kitchen and upstairs ballroom, \u003ca href=\"https://www.kqed.org/arts/13887215/end-of-an-era-oakland-venue-starline-social-club-is-on-the-market\">went on the market for $3.2 million\u003c/a>. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Months later, however, the club announced that it would instead reopen as a worker-owned co-op — a move that appeared to be a renaissance for the venue, but that \u003ca href=\"https://www.kqed.org/arts/13897239/former-employees-call-co-op-plans-into-question-at-starline-social-club\">“blindsided” some former employees\u003c/a>, who had been laid off since March 2020. Several told KQED that the owners had not reached out to them personally, and were using their likeness to rebuild their image within the community. Others questioned the $711,514 that the club had received in Payroll Protection Program loans in 2020 and 2021.\u003c/p>\n\u003cp>In his closing announcement on Friday, White appeared to acknowledge the tumult of the past couple years.\u003c/p>\n\u003cp>“A special thanks to our incredible management team and staff who stuck together through all the twists and turns of reopening,” White wrote. “It has been an honor working with all of you. Your generosity and strength has been humbling.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>If you’re going to use Bay Area slang, use it right.\u003c/p>\n\u003cp>“Slap” is a term used in this region since the early 2000s to describe the sound of music laden with hard-hitting 808 drum machine beats and heavy bass lines. It’s not a word to describe a quality sandwich.\u003c/p>\n\u003cp>While language, especially slang, is full of words with multiple meanings, many folks from the soil have been on a mission to set the record straight on how the lingo should be used.\u003c/p>\n\u003cp>This week on Rightnowish, we’re diving deep into the etymology of the term and clarifying how it’s best applied.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC7779286777\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>This piece was originally published as a written article in January 2022, you can find that \u003ca href=\"https://www.kqed.org/arts/13908052/food-doesnt-slap\" target=\"_blank\" rel=\"noopener noreferrer\">by clicking here\u003c/a>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]=\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you’re going to use Bay Area slang, use it right.\u003c/p>\n\u003cp>“Slap” is a term used in this region since the early 2000s to describe the sound of music laden with hard-hitting 808 drum machine beats and heavy bass lines. It’s not a word to describe a quality sandwich.\u003c/p>\n\u003cp>While language, especially slang, is full of words with multiple meanings, many folks from the soil have been on a mission to set the record straight on how the lingo should be used.\u003c/p>\n\u003cp>This week on Rightnowish, we’re diving deep into the etymology of the term and clarifying how it’s best applied.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC7779286777\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>This piece was originally published as a written article in January 2022, you can find that \u003ca href=\"https://www.kqed.org/arts/13908052/food-doesnt-slap\" target=\"_blank\" rel=\"noopener noreferrer\">by clicking here\u003c/a>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "‘Too Short Way’ Unveiled in Star-Studded Event in Oakland",
"headTitle": "‘Too Short Way’ Unveiled in Star-Studded Event in Oakland | KQED",
"content": "\u003cp>Saturday’s unveiling of “Too $hort Way” brought together celebrities, community leaders, a marching band and Too $hort himself. But the real star of the event was the city of Oakland. \u003c/p>\n\u003cp>At 3 p.m. inside Fremont High School’s gymnasium, as the Pittsburg High School marching band \u003ca href=\"https://www.instagram.com/reel/CmAWJAljzyQ/\">performed a lively version of “Life Is Too Short,”\u003c/a> the crowd erupted in cheers as hip hop artists Sway Calloway, Ice Cube, Mistah F.A.B. and Too $hort stepped to the stage.\u003c/p>\n\u003cfigure id=\"attachment_13922619\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/TooShort.MarchingBand-800x488.jpg\" alt=\"A marching band, dressed in black Too Short shirts, fills a gymnasium with a large Tiger mural in the background\" width=\"800\" height=\"488\" class=\"size-medium wp-image-13922619\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/TooShort.MarchingBand-800x488.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/TooShort.MarchingBand-1020x622.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/TooShort.MarchingBand-160x98.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/TooShort.MarchingBand-768x469.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/TooShort.MarchingBand-1536x937.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/TooShort.MarchingBand.jpg 1816w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Pittsburg High School marching band performs a medley of Too $hort hits to commemorate the unveiling of ‘Too $hort Way’ at Fremont High School on Dec. 10, 2022. \u003ccite>(Kristie Song/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One by one, each paid tribute to Too $hort. Sway remembered being “a kid” when he first saw Too $hort, in the back of a bus, playing his own music from a boombox. He said he was startled — he hadn’t yet witnessed someone producing and selling their own songs like $hort did.\u003c/p>\n\u003cp>When Ice Cube first met Too $hort in 1988, they were both opening acts for bigger artists, not headliners. (“Yes! I was there!” a crowd goer shouted, laughing.)\u003c/p>\n\u003cp>“He’s always giving. He’s always trying to show you how to do something, telling you about something, giving you some game,” Ice Cube continued. “So, we gonna love Too $hort. Give respect to Too $hort because he put Oakland on the map.” \u003c/p>\n\u003cfigure id=\"attachment_13922618\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/IceCube.MistahFAB-800x450.jpg\" alt=\"Two men dressed in black stand on stage, smiling\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13922618\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/IceCube.MistahFAB-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/IceCube.MistahFAB-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/IceCube.MistahFAB-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/IceCube.MistahFAB-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/IceCube.MistahFAB.jpg 1499w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ice Cube and Mistah FAB on stage at Fremont High School to commemorate the unveiling of ‘Too $hort Way’ on Dec. 10, 2022. \u003ccite>(Kristie Song/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The artists were joined by Oakland mayor Libby Schaaf and councilmember Noel Gallo, who both cited the rapper’s legacy and cultural importance while presenting their official proclamation.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Finally, Too $hort stepped to the microphone.\u003c/p>\n\u003cp>“First and foremost,” he began, smiling and nonchalant, “y’all are celebrating Too $hort, but I’m celebrating Oakland.” \u003c/p>\n\u003cfigure id=\"attachment_13922621\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/TooShort.Speech-800x450.jpg\" alt=\"A man in an A's starter jacket addresses a crowd, with a green background wall\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13922621\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/TooShort.Speech-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/TooShort.Speech-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/TooShort.Speech-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/TooShort.Speech-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/TooShort.Speech-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/TooShort.Speech.jpg 1806w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Too $hort addresses the crowd. \u003ccite>(Kristie Song/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>$hort talked about moving to East Oakland as a young teen, and how the city itself nourished his dreams of becoming a rapper. He’d often walk around the streets, he said, radio in hand, listening to East Coast MCs lyrically explore life in New York. He decided he wanted to do the same — but for the new home he’d grown to love.\u003c/p>\n\u003cp>“This [street renaming] is needed. Not for me to get a pat on my back, not for me to get good things said about me,” said $hort. “This is about walking down the street, dreaming. That long walk down High Street, I was dreaming.” \u003c/p>\n\u003cp>Afterward, the crowd — including \u003ca href=\"https://www.kqed.org/arts/13877570/a-tribute-to-soul-beat-tv-the-black-owned-network-of-east-oakland\" rel=\"noopener noreferrer\" target=\"_blank\">Soul Beat\u003c/a>‘s Chuck Johnson, \u003ca href=\"https://www.kqed.org/arts/13830592/sf-based-hip-hop-distributor-empire-inks-deal-with-universal-music\" rel=\"noopener noreferrer\" target=\"_blank\">EMPIRE\u003c/a>‘s Ghazi Shami, and neighborhood legends like \u003ca href=\"https://www.instagram.com/p/CmAfAMNPltT/\" rel=\"noopener noreferrer\" target=\"_blank\">Frank the Bank\u003c/a> — followed the rapper outside, flocking around the new street sign. Freshly installed, “Too $hort Way” stood against an overcast sky, wet from the constant rain.\u003c/p>\n\u003cfigure id=\"attachment_13922614\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/too-short-way-edited-1-800x549.jpg\" alt=\"Umbrellas are hoisted below a street sign reading 'Too $hort Way'\" width=\"800\" height=\"549\" class=\"size-medium wp-image-13922614\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/too-short-way-edited-1-800x549.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/too-short-way-edited-1-1020x700.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/too-short-way-edited-1-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/too-short-way-edited-1-768x527.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/too-short-way-edited-1-1536x1054.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/too-short-way-edited-1.jpg 1734w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">People gather at the unveiling of Too $hort Way on Dec. 10, 2022. \u003ccite>(Kristie Song/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Another huddle formed around Too $hort as he looked up toward the sign, dressed in a starter jacket with the city’s name on its back. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“This moment is not mine,” he reiterated. “This moment is Oakland, California.” \u003c/p>\n\n",
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"excerpt": "Short Dog was back in the house Saturday at Fremont High, with Ice Cube, Libby Schaaf and others.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Saturday’s unveiling of “Too $hort Way” brought together celebrities, community leaders, a marching band and Too $hort himself. But the real star of the event was the city of Oakland. \u003c/p>\n\u003cp>At 3 p.m. inside Fremont High School’s gymnasium, as the Pittsburg High School marching band \u003ca href=\"https://www.instagram.com/reel/CmAWJAljzyQ/\">performed a lively version of “Life Is Too Short,”\u003c/a> the crowd erupted in cheers as hip hop artists Sway Calloway, Ice Cube, Mistah F.A.B. and Too $hort stepped to the stage.\u003c/p>\n\u003cfigure id=\"attachment_13922619\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/TooShort.MarchingBand-800x488.jpg\" alt=\"A marching band, dressed in black Too Short shirts, fills a gymnasium with a large Tiger mural in the background\" width=\"800\" height=\"488\" class=\"size-medium wp-image-13922619\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/TooShort.MarchingBand-800x488.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/TooShort.MarchingBand-1020x622.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/TooShort.MarchingBand-160x98.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/TooShort.MarchingBand-768x469.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/TooShort.MarchingBand-1536x937.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/TooShort.MarchingBand.jpg 1816w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Pittsburg High School marching band performs a medley of Too $hort hits to commemorate the unveiling of ‘Too $hort Way’ at Fremont High School on Dec. 10, 2022. \u003ccite>(Kristie Song/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One by one, each paid tribute to Too $hort. Sway remembered being “a kid” when he first saw Too $hort, in the back of a bus, playing his own music from a boombox. He said he was startled — he hadn’t yet witnessed someone producing and selling their own songs like $hort did.\u003c/p>\n\u003cp>When Ice Cube first met Too $hort in 1988, they were both opening acts for bigger artists, not headliners. (“Yes! I was there!” a crowd goer shouted, laughing.)\u003c/p>\n\u003cp>“He’s always giving. He’s always trying to show you how to do something, telling you about something, giving you some game,” Ice Cube continued. “So, we gonna love Too $hort. Give respect to Too $hort because he put Oakland on the map.” \u003c/p>\n\u003cfigure id=\"attachment_13922618\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/IceCube.MistahFAB-800x450.jpg\" alt=\"Two men dressed in black stand on stage, smiling\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13922618\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/IceCube.MistahFAB-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/IceCube.MistahFAB-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/IceCube.MistahFAB-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/IceCube.MistahFAB-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/IceCube.MistahFAB.jpg 1499w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ice Cube and Mistah FAB on stage at Fremont High School to commemorate the unveiling of ‘Too $hort Way’ on Dec. 10, 2022. \u003ccite>(Kristie Song/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The artists were joined by Oakland mayor Libby Schaaf and councilmember Noel Gallo, who both cited the rapper’s legacy and cultural importance while presenting their official proclamation.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Finally, Too $hort stepped to the microphone.\u003c/p>\n\u003cp>“First and foremost,” he began, smiling and nonchalant, “y’all are celebrating Too $hort, but I’m celebrating Oakland.” \u003c/p>\n\u003cfigure id=\"attachment_13922621\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/TooShort.Speech-800x450.jpg\" alt=\"A man in an A's starter jacket addresses a crowd, with a green background wall\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13922621\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/TooShort.Speech-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/TooShort.Speech-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/TooShort.Speech-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/TooShort.Speech-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/TooShort.Speech-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/TooShort.Speech.jpg 1806w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Too $hort addresses the crowd. \u003ccite>(Kristie Song/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>$hort talked about moving to East Oakland as a young teen, and how the city itself nourished his dreams of becoming a rapper. He’d often walk around the streets, he said, radio in hand, listening to East Coast MCs lyrically explore life in New York. He decided he wanted to do the same — but for the new home he’d grown to love.\u003c/p>\n\u003cp>“This [street renaming] is needed. Not for me to get a pat on my back, not for me to get good things said about me,” said $hort. “This is about walking down the street, dreaming. That long walk down High Street, I was dreaming.” \u003c/p>\n\u003cp>Afterward, the crowd — including \u003ca href=\"https://www.kqed.org/arts/13877570/a-tribute-to-soul-beat-tv-the-black-owned-network-of-east-oakland\" rel=\"noopener noreferrer\" target=\"_blank\">Soul Beat\u003c/a>‘s Chuck Johnson, \u003ca href=\"https://www.kqed.org/arts/13830592/sf-based-hip-hop-distributor-empire-inks-deal-with-universal-music\" rel=\"noopener noreferrer\" target=\"_blank\">EMPIRE\u003c/a>‘s Ghazi Shami, and neighborhood legends like \u003ca href=\"https://www.instagram.com/p/CmAfAMNPltT/\" rel=\"noopener noreferrer\" target=\"_blank\">Frank the Bank\u003c/a> — followed the rapper outside, flocking around the new street sign. Freshly installed, “Too $hort Way” stood against an overcast sky, wet from the constant rain.\u003c/p>\n\u003cfigure id=\"attachment_13922614\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/too-short-way-edited-1-800x549.jpg\" alt=\"Umbrellas are hoisted below a street sign reading 'Too $hort Way'\" width=\"800\" height=\"549\" class=\"size-medium wp-image-13922614\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/too-short-way-edited-1-800x549.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/too-short-way-edited-1-1020x700.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/too-short-way-edited-1-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/too-short-way-edited-1-768x527.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/too-short-way-edited-1-1536x1054.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/too-short-way-edited-1.jpg 1734w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">People gather at the unveiling of Too $hort Way on Dec. 10, 2022. \u003ccite>(Kristie Song/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Another huddle formed around Too $hort as he looked up toward the sign, dressed in a starter jacket with the city’s name on its back. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“This moment is not mine,” he reiterated. “This moment is Oakland, California.” \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>It’s been a big few weeks for Too $hort. The prolific rapper — real name Todd Anthony Shaw — helped put West Coast hip-hop on the map in the 1980s with his slow, funky and braggadocious raps about life on the Oakland streets. And now he’s getting a street of his own: On Dec. 6, Oakland City Council members voted in favor of \u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/View-Legislation.pdf\">a resolution [PDF]\u003c/a> to rename Foothill Blvd. between High Street and 47th Avenue “Too $hort Way.” The stretch of road sits alongside Fremont High School, which the rapper attended as a teenager while beginning to produce music.\u003c/p>\n\u003cp>The resolution cites the far-reaching impact of Too $hort’s nearly 40-year career, which includes six platinum albums, numerous collaborations with fellow hip-hop legends and a continuing dedication to his craft. Importantly, Too $hort doesn’t shy away from his roots — he makes it loud and clear where he’s from, often name-checking and embodying the spirit of Oakland in his lyrics.\u003c/p>\n\u003cp>“His career blazed a path that opened the door for Bay Area artists to pursue their dreams,” reads the resolution, which was introduced by Oakland mayor Libby Schaaf and councilmember Noel Gallo. “It’s important that Oakland give him his flowers now, while he is here and can appreciate the ‘thank you’ from his hometown.” (This love affair between Too $hort and city officials, Bay Area hip-hop heads will note, would have been all but unimaginable when the MC was coming up 30 years ago, as local government responded to a rise in violence by cracking down on rap shows.)\u003c/p>\n\u003cp>The hip-hop veteran also appears to be headed for the big screen: Too $hort is set to executive-produce the upcoming film \u003cem>Freaky Tales\u003c/em>, named after his 1987 song. Set in that year, the film will feature stories inspired by director Ryan Fleck’s upbringing in the East Bay. The project, which has actors Pedro Pascal and Ben Mendelsohn attached, \u003ca href=\"https://twitter.com/jemmawei/status/1592971050899292162\">gained attention on Twitter\u003c/a> in mid-November, when residents began to notice crew filming in downtown Oakland.\u003c/p>\n\u003cp>Dec. 9 will see the release of the new record \u003cem>Snoop, Cube, 40, $hort\u003c/em> from Too $hort’s West Coast rap supergroup Mount Westmore. And on Dec. 10, fellow Oakland rapper and collaborator Mistah F.A.B. hosts a celebratory night for Too $hort at his club Dezi’s, playing Too $hort’s hits all night. “Let’s celebrate the icon and living legend,” said Mistah F.A.B. in a \u003ca href=\"https://www.instagram.com/p/ClzfILYPpZ4/?hl=en\">recent Instagram post\u003c/a>. Tickets start at $30; \u003ca href=\"https://clubdezis.square.site/\">more info here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s been a big few weeks for Too $hort. The prolific rapper — real name Todd Anthony Shaw — helped put West Coast hip-hop on the map in the 1980s with his slow, funky and braggadocious raps about life on the Oakland streets. And now he’s getting a street of his own: On Dec. 6, Oakland City Council members voted in favor of \u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/View-Legislation.pdf\">a resolution [PDF]\u003c/a> to rename Foothill Blvd. between High Street and 47th Avenue “Too $hort Way.” The stretch of road sits alongside Fremont High School, which the rapper attended as a teenager while beginning to produce music.\u003c/p>\n\u003cp>The resolution cites the far-reaching impact of Too $hort’s nearly 40-year career, which includes six platinum albums, numerous collaborations with fellow hip-hop legends and a continuing dedication to his craft. Importantly, Too $hort doesn’t shy away from his roots — he makes it loud and clear where he’s from, often name-checking and embodying the spirit of Oakland in his lyrics.\u003c/p>\n\u003cp>“His career blazed a path that opened the door for Bay Area artists to pursue their dreams,” reads the resolution, which was introduced by Oakland mayor Libby Schaaf and councilmember Noel Gallo. “It’s important that Oakland give him his flowers now, while he is here and can appreciate the ‘thank you’ from his hometown.” (This love affair between Too $hort and city officials, Bay Area hip-hop heads will note, would have been all but unimaginable when the MC was coming up 30 years ago, as local government responded to a rise in violence by cracking down on rap shows.)\u003c/p>\n\u003cp>The hip-hop veteran also appears to be headed for the big screen: Too $hort is set to executive-produce the upcoming film \u003cem>Freaky Tales\u003c/em>, named after his 1987 song. Set in that year, the film will feature stories inspired by director Ryan Fleck’s upbringing in the East Bay. The project, which has actors Pedro Pascal and Ben Mendelsohn attached, \u003ca href=\"https://twitter.com/jemmawei/status/1592971050899292162\">gained attention on Twitter\u003c/a> in mid-November, when residents began to notice crew filming in downtown Oakland.\u003c/p>\n\u003cp>Dec. 9 will see the release of the new record \u003cem>Snoop, Cube, 40, $hort\u003c/em> from Too $hort’s West Coast rap supergroup Mount Westmore. And on Dec. 10, fellow Oakland rapper and collaborator Mistah F.A.B. hosts a celebratory night for Too $hort at his club Dezi’s, playing Too $hort’s hits all night. “Let’s celebrate the icon and living legend,” said Mistah F.A.B. in a \u003ca href=\"https://www.instagram.com/p/ClzfILYPpZ4/?hl=en\">recent Instagram post\u003c/a>. Tickets start at $30; \u003ca href=\"https://clubdezis.square.site/\">more info here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "‘Requiem Sinfónica’ Honors Ghost Ship Victims with Music and Hope",
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"content": "\u003cp>In the late hours of Dec. 2, 2016, a fire swept through the Ghost Ship warehouse in Oakland and \u003ca href=\"https://www.kqed.org/ghostshipmemorial\">claimed the lives of 36 people\u003c/a> — a loss that left friends, families and the Oakland artist community confused and hollow. Angry and disheartened at the lack of answers and accountability following the tragedy, flutist and composer \u003ca href=\"https://artietrodriguez.wixsite.com/artierodriguezflute\">Arturo Rodriguez\u003c/a> began developing \u003cem>Requiem Sinfónica: A Requiem Without Words\u003c/em>, a commemorative nine-movement orchestral suite that \u003ca href=\"https://www.eventbrite.com/e/awesome-orchestra-presents-requiem-sinfonica-requiem-without-words-tickets-420791989167\">debuts in full on Saturday, Dec. 3\u003c/a>, at the Malonga Casquelourd Center in Oakland.\u003c/p>\n\u003cp>For Rodriguez, the process of writing the requiem mirrored his restlessness about the tragedy. Melodies and themes floated in and out of his head. Unrefined echoes of cello and lower bass notes appeared like shadows, looming overhead as he tried to jot them all down. As Rodriguez contemplated the form of the musical requiem, where the journey of souls toward paradise is traditionally explored through lyricism, he opted to forego a choir and focus on the instrumentation.\u003c/p>\n\u003cp>[aside link1='https://www.kqed.org/ghostshipmemorial,Honoring Those Lost to the Ghost Ship Fire' hero='https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/OaklandFireMemorial-11x17.jpg']“My work is supposed to represent the silencing of voices. I don’t know what their last words were,” Rodriguez said. “I can only imagine what they were thinking to themselves. So in a way, this music is their thoughts in musical form: it’s their acceptance, their trauma, their anger, hate, every emotion.”\u003c/p>\n\u003cp>With the support of fellow members from \u003ca href=\"https://awesomeorchestra.org/\">Awesöme Orchestra Collective\u003c/a>, a nonprofit that hosts open music-reading sessions to make orchestral music and performance more accessible, Rodriguez hopes to highlight the sense of hope and family he’s gained from connecting with musicians and family members personally impacted by the tragedy.\u003c/p>\n\u003cp>“It’s so beautifully humanizing, the way that they love each other and look out for each other. I think, because the music is so involved, I became involved,” said Rodriguez. “It was an opportunity to really become invested in something that was not myself and my own musical exploration. It was also like, ‘What do I want to tell the families with this music? How do I want to express my gratitude to them?’”\u003c/p>\n\u003cfigure id=\"attachment_13922067\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/AOC.rehearsal-800x411.jpg\" alt=\"A room of symphonic musicians plays with music stands and instruments\" width=\"800\" height=\"411\" class=\"size-medium wp-image-13922067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/AOC.rehearsal-800x411.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/AOC.rehearsal-1020x523.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/AOC.rehearsal-160x82.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/AOC.rehearsal-768x394.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/AOC.rehearsal-1536x788.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/AOC.rehearsal.jpg 1600w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Awesöme Orchestra members rehearse ‘Requiem Sinfónica.’\u003cbr> \u003ccite>(Courtesy Arturo Rodriguez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Through nine movements, Rodriguez layers various percussion, brass, woodwind and strings into lush musical scenes that depict coming to terms with death, and a journey toward peace. David Möschler, Awesöme Orchestra artistic director and Requiem Sinfónica conductor, explains that many of the musicians in the 65-piece ensemble have a personal connection to the fire, and have been rehearsing arduously to perfect Rodriguez’s complex composition.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“The music requires a lot of endurance from the players because of its length. Because of the wide range of eclectic, stylistic influences, the music can switch really quickly from one mood to another,” said Möschler. “Any of the players will tell you, it’s not a piece to show up and just sort of sightread. It really requires focus and knowing how it goes, and the style and the sound.”\u003c/p>\n\u003cp>[aside postID='arts_13793868']Rodriguez spent over three years revising and workshopping the 90-minute requiem, with the entire process spanning six years. And as the various musical elements shifted, his intentions evolved.\u003c/p>\n\u003cp>“I’m starting to look at it [Requiem Sinfónica] as an ask to our political leaders and social leaders to allow us to have more of a voice,” said Rodriguez. “What does a safe artist’s space look like? How do we take care of the people that essentially create the culture that life is based on? These are questions that I want answered.” \u003c/p>\n\u003cp>On Saturday, the concert hall will fill with the low hum and vibrations of tuning instruments. Swirling with these sounds will be anticipation, grief, celebration and hope — and as family and friends hold one another, their loved ones will continue to live on in the music all around them.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Requiem Sinfónica: A Requiem Without Words’ premieres Saturday, Dec. 3, at the Malonga Casquelord Center for the Arts in Oakland. Attendance is free. In-person seats are limited; a \u003ca href=\"https://docs.google.com/forms/d/e/1FAIpQLSe2h0-cz_kL9WySNOpDadnFsyRWHUdW_J5rOdWlt-aoLjWhAg/viewform\">livestream link is available\u003c/a> upon RSVP. \u003ca href=\"https://www.eventbrite.com/e/awesome-orchestra-presents-requiem-sinfonica-requiem-without-words-tickets-420791989167\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“My work is supposed to represent the silencing of voices. I don’t know what their last words were,” Rodriguez said. “I can only imagine what they were thinking to themselves. So in a way, this music is their thoughts in musical form: it’s their acceptance, their trauma, their anger, hate, every emotion.”\u003c/p>\n\u003cp>With the support of fellow members from \u003ca href=\"https://awesomeorchestra.org/\">Awesöme Orchestra Collective\u003c/a>, a nonprofit that hosts open music-reading sessions to make orchestral music and performance more accessible, Rodriguez hopes to highlight the sense of hope and family he’s gained from connecting with musicians and family members personally impacted by the tragedy.\u003c/p>\n\u003cp>“It’s so beautifully humanizing, the way that they love each other and look out for each other. I think, because the music is so involved, I became involved,” said Rodriguez. “It was an opportunity to really become invested in something that was not myself and my own musical exploration. It was also like, ‘What do I want to tell the families with this music? How do I want to express my gratitude to them?’”\u003c/p>\n\u003cfigure id=\"attachment_13922067\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/AOC.rehearsal-800x411.jpg\" alt=\"A room of symphonic musicians plays with music stands and instruments\" width=\"800\" height=\"411\" class=\"size-medium wp-image-13922067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/AOC.rehearsal-800x411.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/AOC.rehearsal-1020x523.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/AOC.rehearsal-160x82.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/AOC.rehearsal-768x394.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/AOC.rehearsal-1536x788.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/AOC.rehearsal.jpg 1600w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Awesöme Orchestra members rehearse ‘Requiem Sinfónica.’\u003cbr> \u003ccite>(Courtesy Arturo Rodriguez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Through nine movements, Rodriguez layers various percussion, brass, woodwind and strings into lush musical scenes that depict coming to terms with death, and a journey toward peace. David Möschler, Awesöme Orchestra artistic director and Requiem Sinfónica conductor, explains that many of the musicians in the 65-piece ensemble have a personal connection to the fire, and have been rehearsing arduously to perfect Rodriguez’s complex composition.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Rodriguez spent over three years revising and workshopping the 90-minute requiem, with the entire process spanning six years. And as the various musical elements shifted, his intentions evolved.\u003c/p>\n\u003cp>“I’m starting to look at it [Requiem Sinfónica] as an ask to our political leaders and social leaders to allow us to have more of a voice,” said Rodriguez. “What does a safe artist’s space look like? How do we take care of the people that essentially create the culture that life is based on? These are questions that I want answered.” \u003c/p>\n\u003cp>On Saturday, the concert hall will fill with the low hum and vibrations of tuning instruments. Swirling with these sounds will be anticipation, grief, celebration and hope — and as family and friends hold one another, their loved ones will continue to live on in the music all around them.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Requiem Sinfónica: A Requiem Without Words’ premieres Saturday, Dec. 3, at the Malonga Casquelord Center for the Arts in Oakland. Attendance is free. In-person seats are limited; a \u003ca href=\"https://docs.google.com/forms/d/e/1FAIpQLSe2h0-cz_kL9WySNOpDadnFsyRWHUdW_J5rOdWlt-aoLjWhAg/viewform\">livestream link is available\u003c/a> upon RSVP. \u003ca href=\"https://www.eventbrite.com/e/awesome-orchestra-presents-requiem-sinfonica-requiem-without-words-tickets-420791989167\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "bay-bridge-anniversary-1936-opening-fdr-celebrations-sf-oakland",
"title": "The Bay Bridge’s 1936 Opening Was Four Days of Non-Stop Drama",
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"headTitle": "The Bay Bridge’s 1936 Opening Was Four Days of Non-Stop Drama | KQED",
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"content": "\u003cp>Picture it. The Bay Area. November 1936. The first of the region’s two major bridges just got finished. The world is starting to feel smaller. Your brain is struggling to keep up with all of the feats of engineering going on in your midst, and the future feels closer than ever. What do you do?\u003c/p>\n\u003cp>You write a poem, that’s what.\u003c/p>\n\u003cp>I’m not kidding. The opening of the San Francisco-Oakland Bay Bridge inspired \u003cem>a lot\u003c/em> of poetry. A lot of \u003cem>really bad\u003c/em> poetry.\u003c/p>\n\u003cp>Here’s one the \u003cem>Sacramento Bee \u003c/em>saw fit to publish on Nov. 12 — the same day the Bay Bridge first opened to traffic:\u003c/p>\n\u003cblockquote>\u003cp>I like a bridge —\u003cbr>\nIt cries ‘Come on,\u003cbr>\nI’ll take you there from here and here and from there\u003cbr>\nAnd save you time and toll.’\u003c/p>\u003c/blockquote>\n\u003cblockquote>\u003cp>I like a bridge —\u003cbr>\nIt breathes romance;\u003cbr>\n‘There’s new adventure on the further side\u003cbr>\nAnd I will help you cross.’\u003c/p>\n\u003cp>I like a bridge —\u003cbr>\nIt makes me think\u003cbr>\nThat when a worry comes, my mind will find\u003cbr>\nSomewhere a friendly bridge.\u003c/p>\u003c/blockquote>\n\u003cp>No, I don’t know either.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>A less bad poem by Jack Burroughs also made it into the\u003cem> Oakland Tribune \u003c/em>that week:\u003c/p>\n\u003cblockquote>\u003cp>We’ve watched you grow from a buttress low\u003cbr>\nTo a towering spread of steel\u003cbr>\nYour form arose with hammer blows\u003cbr>\nAnd the turn of the spinner’s wheel.\u003c/p>\n\u003cp>Now you stand complete and our eyes you greet\u003cbr>\nWith the fruit of a thousand thoughts\u003cbr>\nA span flung wide from the Oakland side\u003cbr>\nTo the Port of the Argonauts.\u003c/p>\n\u003cp>We have seen you write of a victor’s might\u003cbr>\nOf a battle fought and won.\u003cbr>\nYou’ve spanned the Bay and you seem to say:\u003cbr>\n‘I’m the link that makes you one!’\u003c/p>\u003c/blockquote>\n\u003cp>Certainly, poetry was the chosen medium in which to feel overwrought that month. Schoolchildren in Berkeley, Oakland, Alameda and Piedmont were all given assignments to write poems about the brand new bridge. Even \u003ca href=\"https://localwiki.org/oakland/Grant_Miller_Mortuary\" target=\"_blank\" rel=\"noopener noreferrer\">Grant D. Miller\u003c/a>, Alameda County’s coroner (\u003cem>the actual coroner!\u003c/em>) felt the need to share some rhyming words of wisdom about “this modern miracle … the Bay Bridge.”\u003c/p>\n\u003cp>In a large newspaper ad, Miller shared:\u003c/p>\n\u003cblockquote>\u003cp>The bridge that links the cities\u003cbr>\nis gleaming in the sun,\u003cbr>\nIts towers capped and saddled,\u003cbr>\nits massive cables spun.\u003c/p>\u003c/blockquote>\n\u003cp>Nice one, Grant.\u003c/p>\n\u003cp>Looking back, you kind of can’t blame everyone for temporarily lapsing into overly dramatic fugue states. Everything about the Bay Bridge was almost unfathomably huge. The construction had cost $77 million (which was actually under budget). It had taken three years, 152,000 tons of steel, 30,000 tons of reinforcing steel, 70,815 miles of cable wire, 1 million cubic yards of concrete, 1.3 million barrels of cement, 200,000 gallons of paint, 30 million feet of boards and 55 million man hours to complete. Hell, PG&E had to lay a 25,000-foot long underwater power cable before the work could even start.\u003c/p>\n\u003cp>The bridge’s completion also felt a little miraculous, given how unfinished it had looked just months before the opening.\u003c/p>\n\u003cfigure id=\"attachment_13921130\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921130\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/opensfhistory_wnp14.4782-800x469.jpg\" alt=\"The Bay Bridge's towers and cables stand in the Bay, but have no roadways.\" width=\"800\" height=\"469\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/opensfhistory_wnp14.4782-800x469.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/opensfhistory_wnp14.4782-160x94.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/opensfhistory_wnp14.4782-768x450.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/opensfhistory_wnp14.4782.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">This is what the Bay Bridge looked like at the start of 1936. Literally nowhere to put cars. \u003ccite>(OpenSFHistory / wnp14.4782)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This is what the San Francisco side (specifically Perry, near Fourth St.) looked like in September 1935:\u003c/p>\n\u003cfigure id=\"attachment_13921124\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921124\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/opensfhistory_wnp14.3350-800x612.jpg\" alt=\"A very rickety-looking construction of wooden boards to make up a section of bridge.\" width=\"800\" height=\"612\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/opensfhistory_wnp14.3350-800x612.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/opensfhistory_wnp14.3350-160x122.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/opensfhistory_wnp14.3350-768x588.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/opensfhistory_wnp14.3350.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Bay Bridge 14 months before opening, looking like a backyard treehouse with lofty ambitions. \u003ccite>(OpenSFHistory / wnp14.3350)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Here’s the Eastern cantilever section that same year:\u003c/p>\n\u003cfigure id=\"attachment_13921132\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921132\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/opensfhistory_wnp27.3599-800x496.jpg\" alt=\"An unfinished bridge stretches out into open waters.\" width=\"800\" height=\"496\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/opensfhistory_wnp27.3599-800x496.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/opensfhistory_wnp27.3599-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/opensfhistory_wnp27.3599-768x476.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/opensfhistory_wnp27.3599.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Evel Knievel could’ve done something really cool with this. \u003ccite>(OpenSFHistory / wnp27.3599)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On top of that, folks were also in a tizzy about the small matter of San Francisco and Oakland suddenly being indelibly connected. At one point, the\u003cem> San Francisco Examiner\u003c/em> pondered whether “this new metropolitan area, knit into a single unit” would be called “San Fran-Oakland” or “Oak-Francisco.” (We owe a debt of gratitude to the 1930s humans who refused to allow these terms to catch on.)\u003c/p>\n\u003cp>Needless to say, when the work on the bridge was finally finished, the entire region celebrated in a variety of consistently over-the-top ways. After the poetry had been penned, then came the parades. The first one, on Nov. 11, took over 30 blocks of downtown Oakland.\u003c/p>\n\u003cfigure id=\"attachment_13921183\" class=\"wp-caption aligncenter\" style=\"max-width: 768px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13921183\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/Screen-Shot-2022-11-01-at-2.42.19-PM.png\" alt=\"A hand drawn map of downtown Oakland and Lake Merritt with arrows depicting a parade route.\" width=\"768\" height=\"874\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Screen-Shot-2022-11-01-at-2.42.19-PM.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Screen-Shot-2022-11-01-at-2.42.19-PM-160x182.png 160w\" sizes=\"(max-width: 768px) 100vw, 768px\">\u003cfigcaption class=\"wp-caption-text\">The Armistice Day parade route, as seen in ‘The Oakland Tribune’ on Nov. 9, 1936. It was the largest parade in Oakland’s history. \u003ccite>(Newspapers.com/ Oakland Tribune)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Armistice Day party was meant to honor the lives of those lost in World War I, while also marveling at the possibilities for the future that were symbolized by the Bay Bridge.\u003c/p>\n\u003cfigure id=\"attachment_13921232\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921232\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/GettyImages-1172276945-800x569.jpg\" alt=\"\" width=\"800\" height=\"569\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GettyImages-1172276945-800x569.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GettyImages-1172276945-1020x726.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GettyImages-1172276945-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GettyImages-1172276945-768x547.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GettyImages-1172276945-1536x1093.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GettyImages-1172276945-2048x1458.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GettyImages-1172276945-1920x1367.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Armistice Day parade moving along Broadway in Oakland, Nov. 11, 1936. \u003ccite>(MediaNews Group/Oakland Tribune via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Holding the largest parade in Oakland history apparently didn’t feel quite big enough because, that day, there was also a luncheon, a military pageant, a football game, a ball \u003cem>and\u003c/em> fireworks. All of which, believe it or not, was merely the opening act for the actual bridge opening on Nov. 12. Which was, as you may have guessed by now, completely bonkers.\u003c/p>\n\u003cp>The day started with Franklin D. Roosevelt hitting a little button in the Oval Office, which turned on traffic signals on the bridge. This activation of the lights was a more measured gesture to Northern California than the one FDR had offered at the beginning of Bay Bridge construction. That time, the little button on his desk set off a dynamite explosion on Yerba Buena Island.\u003c/p>\n\u003cp>One can only assume that this is how people showed off before the internet existed.\u003c/p>\n\u003cfigure id=\"attachment_13921252\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921252\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/GettyImages-515450230-1-800x623.jpg\" alt=\"A distinguished older man sits at his desk about to press down on a device that resembles a morse code machine.\" width=\"800\" height=\"623\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GettyImages-515450230-1-800x623.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GettyImages-515450230-1-1020x794.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GettyImages-515450230-1-160x125.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GettyImages-515450230-1-768x598.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GettyImages-515450230-1.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">FDR, very casually messing with our traffic lights. \u003ccite>(Getty Images/ Bettmann)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Once those lights were on, cars could begin crossing. Truly, the Bay Bridge started as it continues to this day — with way, \u003cem>way\u003c/em> too much traffic.\u003c/p>\n\u003cfigure id=\"attachment_13921292\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921292\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/GettyImages-1006179310-800x498.jpg\" alt=\"Cars lined up as far as the eye can see, in eight lanes.\" width=\"800\" height=\"498\">\u003cfigcaption class=\"wp-caption-text\">Cars line up at the toll plaza to be some of the first to cross the Bay Bridge. \u003ccite>(Digital First Media Group/Oakland Tribune via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Meanwhile, there was a bridge dedication on both sides of the Bay, while an Army and Navy air show roared overhead. \u003cem>In\u003c/em> the bay, there was a regatta, as well as races involving fishing boats, a merchant life boat, the Sea Scouts and rowing clubs. There were demonstrations by the Coast Guard and the fire-boat service. San Francisco also held swimming and diving competitions at Aquatic Park, and the day culminated in firework displays at either end of the bridge. So, bedlam basically.\u003c/p>\n\u003cp>[aside postid='arts_13910308']There was so much going on at the same time, one radio journalist decided that the easiest way to see it all was by climbing 400 feet to the top of the Bay Bridge’s tower and reporting from there. He stayed up there all day despite objections from his editor that his script might get blown away. (Journalists, amiright?)\u003c/p>\n\u003cp>Those of you accustomed to forking over $7 each time you cross might be interested to hear what then-Governor Frank Finley Merriam declared at the opening. “This bridge belongs to the generation,” he said. “We built it and we shall pay for it. But in a broader sense it belongs to the generations that are to come. When the youths of today became the citizens of tomorrow, they will use it without cost.”\u003c/p>\n\u003cp>Sure, Frank. Sure.\u003c/p>\n\u003cfigure id=\"attachment_13921143\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921143\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/opensfhistory_wnp14.12323-800x646.jpg\" alt=\"\" width=\"800\" height=\"646\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/opensfhistory_wnp14.12323-800x646.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/opensfhistory_wnp14.12323-160x129.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/opensfhistory_wnp14.12323-768x620.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/opensfhistory_wnp14.12323.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Bay Bridge Dedication Pageant parade marched down Market St. on Nov. 13, 1936, between decorations that resembled the new bridge. \u003ccite>(OpenSFHistory / wnp14.12323)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Things didn’t get any less dramatic on Day Three. A parade dominated downtown San Francisco from the Ferry Building to Civic Center. Per a report that week from the \u003cem>San Francisco Examiner\u003c/em>, the floats —“a type finer than any which have been shown hereabouts in the past” — depicted “the past, present and future of the Metropolitan Bay Area.”\u003c/p>\n\u003cfigure id=\"attachment_13921126\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921126\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/opensfhistory_wnp14.4476-800x541.jpg\" alt=\"A float carrying a replica of San Francisco's city hall, plus the new Bay Bridge rolls past spectators.\" width=\"800\" height=\"541\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/opensfhistory_wnp14.4476-800x541.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/opensfhistory_wnp14.4476-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/opensfhistory_wnp14.4476-768x519.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/opensfhistory_wnp14.4476.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nov 13, 1936:\u003cbr>The Bay Bridge Dedication Pageant parade, featuring here a ‘Flying A’ gasoline float. \u003ccite>(OpenSFHistory / wnp14.4476)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The parade also, weirdly, facilitated the first horse crossing on the Bay Bridge. The horse in question was named Sundown, he was owned by California Highway patrolman Mark Freitas, and the two were traveling to San Francisco to take part in the pageantry.\u003c/p>\n\u003cfigure id=\"attachment_13921251\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921251\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/GettyImages-1006179288-800x586.jpg\" alt=\"A black horse stands in an open top cart being towed by a classic 1930s car.\" width=\"800\" height=\"586\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GettyImages-1006179288-800x586.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GettyImages-1006179288-1020x747.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GettyImages-1006179288-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GettyImages-1006179288-768x563.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GettyImages-1006179288.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sundown on the Bay Bridge. \u003ccite>(Digital First Media Group/Oakland Tribune via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sundown, the futuristic floats, marching bands, a 150-foot-long dragon from Chinatown and hordes of dancing girls made their way down Market St., in what the \u003cem>Examiner\u003c/em> described as “a kaleidoscopic procession of gaiety.” They were surrounded on all sides by “miles of garlands and miles of painted canvas, hundreds of immense colored pylons and replicas of bridges, all designed to form a perfect picture of the spirit of the fiesta.”\u003c/p>\n\u003cp>[aside postid='arts_13913489']Fun fact: One of those bridge replicas wound up smashing through the window of a sporting goods shop a few days later. The \u003cem>Examiner\u003c/em> reported that “heavy trolley wires and lamp standards were torn down in the crash. Traffic was disrupted more than an hour,” and had to be diverted to Mission St.\u003c/p>\n\u003cfigure id=\"attachment_13960576\" class=\"wp-caption aligncenter\" style=\"max-width: 1536px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960576\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/20240627_150310-scaled-e1719613641842.jpg\" alt=\"1930s-style artwork depicting crowds gathered in front of the Bay Bridge with a rainbow curved across the sky.\" width=\"1536\" height=\"1920\">\u003cfigcaption class=\"wp-caption-text\">A souvenir program for the Bay Bridge’s opening celebrations. \u003ccite>(Courtesy of the San Francisco History Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The parade caused a traffic jam of sorts too — a human one. “They were clustered on the heads of statuary at the Donahue monuments at Bush and Battery,” the \u003cem>Examiner\u003c/em> reported. “They climbed on the precarious silver arch that linked the street decorations at the Palace Hotel, they clung to dizzy cornices of the buildings, and in window embrasures, showering snow storms of paper upon the marching throngs. Perspiring police threw up their hands as time and again the cheering spectators broke through into the line of march.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>After a final burst of revelry on the 14th, the party was over. The \u003cem>Oakland Tribune\u003c/em> called the bridge opening “the greatest event in the history of the Bay region.” The \u003cem>Examiner\u003c/em> declared: “San Francisco has seen nothing like it. The Portola Festival, the homecoming of the troops from the World War, the spontaneous Mardi Gras of New Year’s Eve — roll them all in to one and they’d give but feeble whispers compared to yesterday’s mighty cheer.”\u003c/p>\n\n",
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"excerpt": "Parades, parties, pageantry and way too much bad poetry. The Bay Bridge's 1936 opening was bedlam.",
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"title": "The Bay Bridge Turns 86: Revisit its 1936 Opening | KQED",
"description": "Parades, parties, pageantry and way too much bad poetry. The Bay Bridge's 1936 opening was bedlam.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Picture it. The Bay Area. November 1936. The first of the region’s two major bridges just got finished. The world is starting to feel smaller. Your brain is struggling to keep up with all of the feats of engineering going on in your midst, and the future feels closer than ever. What do you do?\u003c/p>\n\u003cp>You write a poem, that’s what.\u003c/p>\n\u003cp>I’m not kidding. The opening of the San Francisco-Oakland Bay Bridge inspired \u003cem>a lot\u003c/em> of poetry. A lot of \u003cem>really bad\u003c/em> poetry.\u003c/p>\n\u003cp>Here’s one the \u003cem>Sacramento Bee \u003c/em>saw fit to publish on Nov. 12 — the same day the Bay Bridge first opened to traffic:\u003c/p>\n\u003cblockquote>\u003cp>I like a bridge —\u003cbr>\nIt cries ‘Come on,\u003cbr>\nI’ll take you there from here and here and from there\u003cbr>\nAnd save you time and toll.’\u003c/p>\u003c/blockquote>\n\u003cblockquote>\u003cp>I like a bridge —\u003cbr>\nIt breathes romance;\u003cbr>\n‘There’s new adventure on the further side\u003cbr>\nAnd I will help you cross.’\u003c/p>\n\u003cp>I like a bridge —\u003cbr>\nIt makes me think\u003cbr>\nThat when a worry comes, my mind will find\u003cbr>\nSomewhere a friendly bridge.\u003c/p>\u003c/blockquote>\n\u003cp>No, I don’t know either.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A less bad poem by Jack Burroughs also made it into the\u003cem> Oakland Tribune \u003c/em>that week:\u003c/p>\n\u003cblockquote>\u003cp>We’ve watched you grow from a buttress low\u003cbr>\nTo a towering spread of steel\u003cbr>\nYour form arose with hammer blows\u003cbr>\nAnd the turn of the spinner’s wheel.\u003c/p>\n\u003cp>Now you stand complete and our eyes you greet\u003cbr>\nWith the fruit of a thousand thoughts\u003cbr>\nA span flung wide from the Oakland side\u003cbr>\nTo the Port of the Argonauts.\u003c/p>\n\u003cp>We have seen you write of a victor’s might\u003cbr>\nOf a battle fought and won.\u003cbr>\nYou’ve spanned the Bay and you seem to say:\u003cbr>\n‘I’m the link that makes you one!’\u003c/p>\u003c/blockquote>\n\u003cp>Certainly, poetry was the chosen medium in which to feel overwrought that month. Schoolchildren in Berkeley, Oakland, Alameda and Piedmont were all given assignments to write poems about the brand new bridge. Even \u003ca href=\"https://localwiki.org/oakland/Grant_Miller_Mortuary\" target=\"_blank\" rel=\"noopener noreferrer\">Grant D. Miller\u003c/a>, Alameda County’s coroner (\u003cem>the actual coroner!\u003c/em>) felt the need to share some rhyming words of wisdom about “this modern miracle … the Bay Bridge.”\u003c/p>\n\u003cp>In a large newspaper ad, Miller shared:\u003c/p>\n\u003cblockquote>\u003cp>The bridge that links the cities\u003cbr>\nis gleaming in the sun,\u003cbr>\nIts towers capped and saddled,\u003cbr>\nits massive cables spun.\u003c/p>\u003c/blockquote>\n\u003cp>Nice one, Grant.\u003c/p>\n\u003cp>Looking back, you kind of can’t blame everyone for temporarily lapsing into overly dramatic fugue states. Everything about the Bay Bridge was almost unfathomably huge. The construction had cost $77 million (which was actually under budget). It had taken three years, 152,000 tons of steel, 30,000 tons of reinforcing steel, 70,815 miles of cable wire, 1 million cubic yards of concrete, 1.3 million barrels of cement, 200,000 gallons of paint, 30 million feet of boards and 55 million man hours to complete. Hell, PG&E had to lay a 25,000-foot long underwater power cable before the work could even start.\u003c/p>\n\u003cp>The bridge’s completion also felt a little miraculous, given how unfinished it had looked just months before the opening.\u003c/p>\n\u003cfigure id=\"attachment_13921130\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921130\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/opensfhistory_wnp14.4782-800x469.jpg\" alt=\"The Bay Bridge's towers and cables stand in the Bay, but have no roadways.\" width=\"800\" height=\"469\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/opensfhistory_wnp14.4782-800x469.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/opensfhistory_wnp14.4782-160x94.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/opensfhistory_wnp14.4782-768x450.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/opensfhistory_wnp14.4782.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">This is what the Bay Bridge looked like at the start of 1936. Literally nowhere to put cars. \u003ccite>(OpenSFHistory / wnp14.4782)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This is what the San Francisco side (specifically Perry, near Fourth St.) looked like in September 1935:\u003c/p>\n\u003cfigure id=\"attachment_13921124\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921124\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/opensfhistory_wnp14.3350-800x612.jpg\" alt=\"A very rickety-looking construction of wooden boards to make up a section of bridge.\" width=\"800\" height=\"612\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/opensfhistory_wnp14.3350-800x612.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/opensfhistory_wnp14.3350-160x122.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/opensfhistory_wnp14.3350-768x588.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/opensfhistory_wnp14.3350.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Bay Bridge 14 months before opening, looking like a backyard treehouse with lofty ambitions. \u003ccite>(OpenSFHistory / wnp14.3350)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Here’s the Eastern cantilever section that same year:\u003c/p>\n\u003cfigure id=\"attachment_13921132\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921132\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/opensfhistory_wnp27.3599-800x496.jpg\" alt=\"An unfinished bridge stretches out into open waters.\" width=\"800\" height=\"496\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/opensfhistory_wnp27.3599-800x496.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/opensfhistory_wnp27.3599-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/opensfhistory_wnp27.3599-768x476.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/opensfhistory_wnp27.3599.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Evel Knievel could’ve done something really cool with this. \u003ccite>(OpenSFHistory / wnp27.3599)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On top of that, folks were also in a tizzy about the small matter of San Francisco and Oakland suddenly being indelibly connected. At one point, the\u003cem> San Francisco Examiner\u003c/em> pondered whether “this new metropolitan area, knit into a single unit” would be called “San Fran-Oakland” or “Oak-Francisco.” (We owe a debt of gratitude to the 1930s humans who refused to allow these terms to catch on.)\u003c/p>\n\u003cp>Needless to say, when the work on the bridge was finally finished, the entire region celebrated in a variety of consistently over-the-top ways. After the poetry had been penned, then came the parades. The first one, on Nov. 11, took over 30 blocks of downtown Oakland.\u003c/p>\n\u003cfigure id=\"attachment_13921183\" class=\"wp-caption aligncenter\" style=\"max-width: 768px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13921183\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/Screen-Shot-2022-11-01-at-2.42.19-PM.png\" alt=\"A hand drawn map of downtown Oakland and Lake Merritt with arrows depicting a parade route.\" width=\"768\" height=\"874\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Screen-Shot-2022-11-01-at-2.42.19-PM.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Screen-Shot-2022-11-01-at-2.42.19-PM-160x182.png 160w\" sizes=\"(max-width: 768px) 100vw, 768px\">\u003cfigcaption class=\"wp-caption-text\">The Armistice Day parade route, as seen in ‘The Oakland Tribune’ on Nov. 9, 1936. It was the largest parade in Oakland’s history. \u003ccite>(Newspapers.com/ Oakland Tribune)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Armistice Day party was meant to honor the lives of those lost in World War I, while also marveling at the possibilities for the future that were symbolized by the Bay Bridge.\u003c/p>\n\u003cfigure id=\"attachment_13921232\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921232\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/GettyImages-1172276945-800x569.jpg\" alt=\"\" width=\"800\" height=\"569\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GettyImages-1172276945-800x569.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GettyImages-1172276945-1020x726.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GettyImages-1172276945-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GettyImages-1172276945-768x547.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GettyImages-1172276945-1536x1093.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GettyImages-1172276945-2048x1458.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GettyImages-1172276945-1920x1367.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Armistice Day parade moving along Broadway in Oakland, Nov. 11, 1936. \u003ccite>(MediaNews Group/Oakland Tribune via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Holding the largest parade in Oakland history apparently didn’t feel quite big enough because, that day, there was also a luncheon, a military pageant, a football game, a ball \u003cem>and\u003c/em> fireworks. All of which, believe it or not, was merely the opening act for the actual bridge opening on Nov. 12. Which was, as you may have guessed by now, completely bonkers.\u003c/p>\n\u003cp>The day started with Franklin D. Roosevelt hitting a little button in the Oval Office, which turned on traffic signals on the bridge. This activation of the lights was a more measured gesture to Northern California than the one FDR had offered at the beginning of Bay Bridge construction. That time, the little button on his desk set off a dynamite explosion on Yerba Buena Island.\u003c/p>\n\u003cp>One can only assume that this is how people showed off before the internet existed.\u003c/p>\n\u003cfigure id=\"attachment_13921252\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921252\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/GettyImages-515450230-1-800x623.jpg\" alt=\"A distinguished older man sits at his desk about to press down on a device that resembles a morse code machine.\" width=\"800\" height=\"623\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GettyImages-515450230-1-800x623.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GettyImages-515450230-1-1020x794.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GettyImages-515450230-1-160x125.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GettyImages-515450230-1-768x598.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GettyImages-515450230-1.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">FDR, very casually messing with our traffic lights. \u003ccite>(Getty Images/ Bettmann)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Once those lights were on, cars could begin crossing. Truly, the Bay Bridge started as it continues to this day — with way, \u003cem>way\u003c/em> too much traffic.\u003c/p>\n\u003cfigure id=\"attachment_13921292\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921292\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/GettyImages-1006179310-800x498.jpg\" alt=\"Cars lined up as far as the eye can see, in eight lanes.\" width=\"800\" height=\"498\">\u003cfigcaption class=\"wp-caption-text\">Cars line up at the toll plaza to be some of the first to cross the Bay Bridge. \u003ccite>(Digital First Media Group/Oakland Tribune via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Meanwhile, there was a bridge dedication on both sides of the Bay, while an Army and Navy air show roared overhead. \u003cem>In\u003c/em> the bay, there was a regatta, as well as races involving fishing boats, a merchant life boat, the Sea Scouts and rowing clubs. There were demonstrations by the Coast Guard and the fire-boat service. San Francisco also held swimming and diving competitions at Aquatic Park, and the day culminated in firework displays at either end of the bridge. So, bedlam basically.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>There was so much going on at the same time, one radio journalist decided that the easiest way to see it all was by climbing 400 feet to the top of the Bay Bridge’s tower and reporting from there. He stayed up there all day despite objections from his editor that his script might get blown away. (Journalists, amiright?)\u003c/p>\n\u003cp>Those of you accustomed to forking over $7 each time you cross might be interested to hear what then-Governor Frank Finley Merriam declared at the opening. “This bridge belongs to the generation,” he said. “We built it and we shall pay for it. But in a broader sense it belongs to the generations that are to come. When the youths of today became the citizens of tomorrow, they will use it without cost.”\u003c/p>\n\u003cp>Sure, Frank. Sure.\u003c/p>\n\u003cfigure id=\"attachment_13921143\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921143\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/opensfhistory_wnp14.12323-800x646.jpg\" alt=\"\" width=\"800\" height=\"646\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/opensfhistory_wnp14.12323-800x646.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/opensfhistory_wnp14.12323-160x129.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/opensfhistory_wnp14.12323-768x620.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/opensfhistory_wnp14.12323.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Bay Bridge Dedication Pageant parade marched down Market St. on Nov. 13, 1936, between decorations that resembled the new bridge. \u003ccite>(OpenSFHistory / wnp14.12323)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Things didn’t get any less dramatic on Day Three. A parade dominated downtown San Francisco from the Ferry Building to Civic Center. Per a report that week from the \u003cem>San Francisco Examiner\u003c/em>, the floats —“a type finer than any which have been shown hereabouts in the past” — depicted “the past, present and future of the Metropolitan Bay Area.”\u003c/p>\n\u003cfigure id=\"attachment_13921126\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921126\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/opensfhistory_wnp14.4476-800x541.jpg\" alt=\"A float carrying a replica of San Francisco's city hall, plus the new Bay Bridge rolls past spectators.\" width=\"800\" height=\"541\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/opensfhistory_wnp14.4476-800x541.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/opensfhistory_wnp14.4476-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/opensfhistory_wnp14.4476-768x519.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/opensfhistory_wnp14.4476.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nov 13, 1936:\u003cbr>The Bay Bridge Dedication Pageant parade, featuring here a ‘Flying A’ gasoline float. \u003ccite>(OpenSFHistory / wnp14.4476)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The parade also, weirdly, facilitated the first horse crossing on the Bay Bridge. The horse in question was named Sundown, he was owned by California Highway patrolman Mark Freitas, and the two were traveling to San Francisco to take part in the pageantry.\u003c/p>\n\u003cfigure id=\"attachment_13921251\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921251\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/GettyImages-1006179288-800x586.jpg\" alt=\"A black horse stands in an open top cart being towed by a classic 1930s car.\" width=\"800\" height=\"586\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GettyImages-1006179288-800x586.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GettyImages-1006179288-1020x747.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GettyImages-1006179288-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GettyImages-1006179288-768x563.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/GettyImages-1006179288.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sundown on the Bay Bridge. \u003ccite>(Digital First Media Group/Oakland Tribune via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sundown, the futuristic floats, marching bands, a 150-foot-long dragon from Chinatown and hordes of dancing girls made their way down Market St., in what the \u003cem>Examiner\u003c/em> described as “a kaleidoscopic procession of gaiety.” They were surrounded on all sides by “miles of garlands and miles of painted canvas, hundreds of immense colored pylons and replicas of bridges, all designed to form a perfect picture of the spirit of the fiesta.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Fun fact: One of those bridge replicas wound up smashing through the window of a sporting goods shop a few days later. The \u003cem>Examiner\u003c/em> reported that “heavy trolley wires and lamp standards were torn down in the crash. Traffic was disrupted more than an hour,” and had to be diverted to Mission St.\u003c/p>\n\u003cfigure id=\"attachment_13960576\" class=\"wp-caption aligncenter\" style=\"max-width: 1536px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960576\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/20240627_150310-scaled-e1719613641842.jpg\" alt=\"1930s-style artwork depicting crowds gathered in front of the Bay Bridge with a rainbow curved across the sky.\" width=\"1536\" height=\"1920\">\u003cfigcaption class=\"wp-caption-text\">A souvenir program for the Bay Bridge’s opening celebrations. \u003ccite>(Courtesy of the San Francisco History Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The parade caused a traffic jam of sorts too — a human one. “They were clustered on the heads of statuary at the Donahue monuments at Bush and Battery,” the \u003cem>Examiner\u003c/em> reported. “They climbed on the precarious silver arch that linked the street decorations at the Palace Hotel, they clung to dizzy cornices of the buildings, and in window embrasures, showering snow storms of paper upon the marching throngs. Perspiring police threw up their hands as time and again the cheering spectators broke through into the line of march.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>After a final burst of revelry on the 14th, the party was over. The \u003cem>Oakland Tribune\u003c/em> called the bridge opening “the greatest event in the history of the Bay region.” The \u003cem>Examiner\u003c/em> declared: “San Francisco has seen nothing like it. The Portola Festival, the homecoming of the troops from the World War, the spontaneous Mardi Gras of New Year’s Eve — roll them all in to one and they’d give but feeble whispers compared to yesterday’s mighty cheer.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp dir=\"ltr\">Today we’re passing the mic to a group that’s doing some substantive work, both in the community and in the media.\u003c/p>\n\u003cp dir=\"ltr\">The \u003ca href=\"https://www.hellablackpod.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Hella Black Podcast\u003c/a>, hosted by \u003ca href=\"https://www.instagram.com/delency_/\" target=\"_blank\" rel=\"noopener noreferrer\">Delency Parham\u003c/a> and \u003ca href=\"https://www.instagram.com/abbas_muntaqim/\" target=\"_blank\" rel=\"noopener noreferrer\">Abbas Muntaqim\u003c/a>, is a show focused on movements toward Black liberation.\u003c/p>\n\u003cp dir=\"ltr\">Right now the Hella Black Podcast is running a unique series called \u003ca href=\"https://podcasts.apple.com/us/podcast/introducing-tales-of-the-town-a-podcast-about-black-oakland/id1235932328?i=1000579592977\" target=\"_blank\" rel=\"noopener noreferrer\">Tales Of The Town.\u003c/a> It’s produced by \u003ca href=\"https://www.kqed.org/arts/13915669/filmmaker-maya-cueva-focuses-on-reproductive-rights-and-immigration\" target=\"_blank\" rel=\"noopener noreferrer\">former Rightnowish guest\u003c/a> and award winning filmmaker,\u003ca href=\"https://www.instagram.com/maya.cueva_/\" target=\"_blank\" rel=\"noopener noreferrer\"> Maya Cueva\u003c/a>.\u003c/p>\n\u003cp dir=\"ltr\">Over the course of 12 weeks, Tales of The Town is looking back at historical movements for Black liberation in Oakland, and diving into current efforts as well. On top of that, they’re making sure to note the arts and culture that has, and continues to fuel movements.\u003c/p>\n\u003cp dir=\"ltr\">The show features conversations with the hosts’ family members and former members of the Black Panther Party. There’s input from historians and culture keepers and there’s interviews with jazz scholars and R&B singers.\u003c/p>\n\u003cp dir=\"ltr\">In addition to the Tales of The Town series, the group is publishing a photo book, a short film and \u003ca href=\"https://open.spotify.com/artist/1ZgPUEWXZparNifIcZgsKT\" target=\"_blank\" rel=\"noopener noreferrer\">an album\u003c/a> full of original music from some big names in the Bay Area’s hip-hop and R&B circles. The album, podcast, and all of the companion pieces are an extension of the work of the \u003ca href=\"https://www.peoplesprograms.com/\">Peoples Program\u003ci>s\u003c/i>\u003c/a>, an organization co-founded by Hella Black Podcast hosts, Delency and Abbas.\u003c/p>\n\u003cp>Peoples Programs works with unhoused folks, providing food through grocery giveaways. They also have a community garden at UC Berkeley, which is maintained by \u003ca href=\"https://www.kqed.org/arts/13908905/rightnowish-big-love-ab-banks\" target=\"_blank\" rel=\"noopener noreferrer\">Former Rightnowish guest AB Banks. \u003c/a>The group has a mobile medical clinic, as well as a program that assists with bail and legal-support for incarcerated Black protesters.\u003c/p>\n\u003cp>So this week, we’re featuring episode number four from the Tales of The Town series. This episode dives into the history of West Oakland’s 7th Street, once a main thoroughfare for Black artists– home to jazz clubs and show venues where folks like Aretha Franklin would perform.\u003c/p>\n\u003cp>That is, until eminent domain brought about BART train tracks and a freeway that ran right through the community, ultimately causing many businesses to close. A blow to the neighborhood that still lingers to this day.\u003c/p>\n\u003cp>Abbas and Delency talk about that and more on this episode.\u003c/p>\n\u003ch5 id=\"embed-code\" class=\"inconsolata\">\n\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC6488238937&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003cbr>\n\u003c/h5>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp dir=\"ltr\">Today we’re passing the mic to a group that’s doing some substantive work, both in the community and in the media.\u003c/p>\n\u003cp dir=\"ltr\">The \u003ca href=\"https://www.hellablackpod.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Hella Black Podcast\u003c/a>, hosted by \u003ca href=\"https://www.instagram.com/delency_/\" target=\"_blank\" rel=\"noopener noreferrer\">Delency Parham\u003c/a> and \u003ca href=\"https://www.instagram.com/abbas_muntaqim/\" target=\"_blank\" rel=\"noopener noreferrer\">Abbas Muntaqim\u003c/a>, is a show focused on movements toward Black liberation.\u003c/p>\n\u003cp dir=\"ltr\">Right now the Hella Black Podcast is running a unique series called \u003ca href=\"https://podcasts.apple.com/us/podcast/introducing-tales-of-the-town-a-podcast-about-black-oakland/id1235932328?i=1000579592977\" target=\"_blank\" rel=\"noopener noreferrer\">Tales Of The Town.\u003c/a> It’s produced by \u003ca href=\"https://www.kqed.org/arts/13915669/filmmaker-maya-cueva-focuses-on-reproductive-rights-and-immigration\" target=\"_blank\" rel=\"noopener noreferrer\">former Rightnowish guest\u003c/a> and award winning filmmaker,\u003ca href=\"https://www.instagram.com/maya.cueva_/\" target=\"_blank\" rel=\"noopener noreferrer\"> Maya Cueva\u003c/a>.\u003c/p>\n\u003cp dir=\"ltr\">Over the course of 12 weeks, Tales of The Town is looking back at historical movements for Black liberation in Oakland, and diving into current efforts as well. On top of that, they’re making sure to note the arts and culture that has, and continues to fuel movements.\u003c/p>\n\u003cp dir=\"ltr\">The show features conversations with the hosts’ family members and former members of the Black Panther Party. There’s input from historians and culture keepers and there’s interviews with jazz scholars and R&B singers.\u003c/p>\n\u003cp dir=\"ltr\">In addition to the Tales of The Town series, the group is publishing a photo book, a short film and \u003ca href=\"https://open.spotify.com/artist/1ZgPUEWXZparNifIcZgsKT\" target=\"_blank\" rel=\"noopener noreferrer\">an album\u003c/a> full of original music from some big names in the Bay Area’s hip-hop and R&B circles. The album, podcast, and all of the companion pieces are an extension of the work of the \u003ca href=\"https://www.peoplesprograms.com/\">Peoples Program\u003ci>s\u003c/i>\u003c/a>, an organization co-founded by Hella Black Podcast hosts, Delency and Abbas.\u003c/p>\n\u003cp>Peoples Programs works with unhoused folks, providing food through grocery giveaways. They also have a community garden at UC Berkeley, which is maintained by \u003ca href=\"https://www.kqed.org/arts/13908905/rightnowish-big-love-ab-banks\" target=\"_blank\" rel=\"noopener noreferrer\">Former Rightnowish guest AB Banks. \u003c/a>The group has a mobile medical clinic, as well as a program that assists with bail and legal-support for incarcerated Black protesters.\u003c/p>\n\u003cp>So this week, we’re featuring episode number four from the Tales of The Town series. This episode dives into the history of West Oakland’s 7th Street, once a main thoroughfare for Black artists– home to jazz clubs and show venues where folks like Aretha Franklin would perform.\u003c/p>\n\u003cp>That is, until eminent domain brought about BART train tracks and a freeway that ran right through the community, ultimately causing many businesses to close. A blow to the neighborhood that still lingers to this day.\u003c/p>\n\u003cp>Abbas and Delency talk about that and more on this episode.\u003c/p>\n\u003ch5 id=\"embed-code\" class=\"inconsolata\">\n\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC6488238937&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003cbr>\n\u003c/h5>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "A Food Altar for My Mom, Who Taught Me to Love to Eat",
"headTitle": "A Food Altar for My Mom, Who Taught Me to Love to Eat | KQED",
"content": "\u003cp>\u003cstrong>\u003cem>Frisco Foodies is a recurring column in which a San Francisco local shares food memories of growing up in a now rapidly changing city.\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[dropcap]W[/dropcap]hen I lost my mom in May of 2020, two months after lockdown, I couldn’t mourn in a normal way. Instead of hugs and in-person condolences, I received pings on my Venmo account from all my cousins telling me to order takeout instead of cooking. Not that I could have. I could barely stand up in the shower. The grief was so heavy amidst the isolation of shelter in place that all I can remember was the silence — and the occasional knock on the door for a flower shop delivery or a Caviar order.\u003c/p>\n\u003cp>I found a Filipino restaurant in Oakland called \u003ca href=\"https://tipunan.com/\">Tipunan\u003c/a> that delivered beef rib sinigang soup with the perfect amount of tamarind sourness and crispy pork belly karé karé, with its golden, peanut butter-based sauce and side of fermented shrimp paste to cut through the fat. Of all the condolences sent, this one felt the most appropriate. After all, I had learned to taste food through my mother’s hands when she \u003ci>subu\u003c/i>’d me as a baby and, later, through the cultural sensibilities I inherited from being born in the Philippines — acquiring a palate for things like ampalaya (bitter melon) and burong mustasa (fermented mustard greens).\u003c/p>\n\u003cp>I grew up quite literally in the middle of the Bay on Treasure Island Naval Base, but my mother was the true bridge between two cities, two hemispheres and two cultures.\u003c/p>\n\u003cp>She was also the one who taught me to be a foodie. I remember how my mom would fix plates of Filipino-style spaghetti for the construction workers working on our building, and how she’d take me to Pier 39 to eat Dungeness crab and clam chowder with oyster crackers, a cacophony of sea lions nearby. I remember perusing Japantown with her after her massage appointments, sipping toasted rice tea and eating green tea ice cream at Kintetsu Mall. I remember how she brought home sugarcane from the Alemany farmers market. My sisters and I would crunch down and suck up the sweet juice before spitting out the stalk like some kid version of chewing tobacco.\u003c/p>\n\u003cfigure id=\"attachment_13921119\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13921119\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/rocky-treasure-island.jpg\" alt=\"A young girl with windswept hair dressed in all red; the pier and waterfront at Treasure Island is in the background.\" width=\"1920\" height=\"1440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/rocky-treasure-island.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/rocky-treasure-island-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/rocky-treasure-island-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/rocky-treasure-island-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/rocky-treasure-island-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/rocky-treasure-island-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The author as a child at the waterfront on Treasure Island, where she grew up. \u003ccite>(Courtesy of Rocky Rivera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The eldest of ten siblings, my mom always woke up at dawn to cook breakfast, most likely silog-style: vinegar-marinated milkfish or salted dried fish with rice and a side of fresh tomato, mango and onion. She’d go back to sleep while everyone else ate. She taught me my native language, Kapampangan, and told me that our people were the best chefs in the Philippines. She even used to brag about raising me a vegetarian — after all, we had access to canned veg-meat in our hometown years before it hit the American mainstream. (These days it would be more accurate to call us flexitarians. We Filipinos \u003ca href=\"https://www.kqed.org/arts/13914750/inay-dalisay-world-famous-lechon-vegan-filipino-play-bindlestiff\">have a hard time\u003c/a> parting with \u003ca href=\"https://www.kqed.org/arts/13915581/lechon-filipino-american-party-oriental-food-market-concord\">meat\u003c/a> entirely.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Throughout my adolescence, my mom expressed the truest love language of an Asian mother, bringing me cut cantaloupes, persimmons and mangoes to my room while I was doing my homework. “Tin … anak … mangan na ka (you eat now),” she’d say to me. It’s no wonder that Filipinos greet each other not with pleasantries, but with inquiries of whether you’ve eaten yet.\u003c/p>\n\u003cp>For me, being a foodie always meant that I enjoyed everyone else’s cooking — my mom’s, my sister’s, my grandma’s, my Tita Lita’s — but never dared to learn or replicate. Why would I when I could just enjoy the fruits of their labor? But now that my daughter is the same age I was when my family immigrated to San Francisco, I’ve learned to cook a few signature dishes: garlic noodles, made with copious amounts of butter, and my Lolo Pepé’s catfish adobo recipe, which my mother passed down to me — with no measurements, of course. It would depend on what was in Mom’s fridge that day. It always required a tomato soft enough to thicken the sauce undetected. But sometimes it would have pepperoncini or jalapeños in it. Sometimes lemongrass. My mother cooked it whenever my partner was in town because he was pescatarian and it was his favorite dish she made.\u003c/p>\n\u003cfigure id=\"attachment_13921125\" class=\"wp-caption alignnone\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13921125\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/food-altar_full-scaled.jpg\" alt=\"A home altar for honoring the ancestors, covered with framed photos, decorative skulls and food offerings.\" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/food-altar_full-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/food-altar_full-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/food-altar_full-1020x1529.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/food-altar_full-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/food-altar_full-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/food-altar_full-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/food-altar_full-1366x2048.jpg 1366w\" sizes=\"(max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">The author’s home altar for honoring her ancestors. At the very top are framed photos of her mother and her father-in-law Danny. \u003ccite>(Fernando Godinez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mom, my Lola Luz and my Tita Lita — who passed away in January — are all gone now. It’s up to my sisters, cousins and I to keep those food memories going, if only to thread our past with our future. These days, I try to continue the Kapampangan traditions with my kids while also incorporating our Americanized palates. I inherited a white-cheddar-and-thyme corn pudding recipe from Tita Lita, who cooked like a Filipina Ina Garten on steroids. Every year, she would roast a separate display turkey to serve alongside the cut pieces of the one she’d already carved — mainly for aesthetics but also to feed our huge family.\u003c/p>\n\u003cp>At her memorial this past January, I made the corn pudding for the family and silently noted the differences in taste due to my use of extra large eggs and the fact that I hadn’t let the batter come to room temperature before baking. Even in death, mine couldn’t compare. I plan on perfecting it this year, and every year after, for Turkey Day.\u003c/p>\n\u003cfigure id=\"attachment_13921122\" class=\"wp-caption alignnone\" style=\"max-width: 1125px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13921122\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/Tita-Lita.jpg\" alt=\"An older woman in a red apron sets up a huge spread of food for an outdoor family gathering.\" width=\"1125\" height=\"844\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Tita-Lita.jpg 1125w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Tita-Lita-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Tita-Lita-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Tita-Lita-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Tita-Lita-768x576.jpg 768w\" sizes=\"(max-width: 1125px) 100vw, 1125px\">\u003cfigcaption class=\"wp-caption-text\">Tita Lita was like a Filipino Ina Garten, known for cooking up an enormous spread of food for family gatherings. \u003ccite>(Courtesy of Rocky Rivera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A few months after my mom passed, during that brief moment in the pandemic when things opened up and closed just as fast, I was able to secure a tattoo appointment. In honor of my departed mom, I chose a young picture of her, along with a young San Francisco skyline — no Salesforce Tower in sight — with the Bay Bridge as a backdrop. At the bottom, in curlicued script, are the words “Frisco Queen.” The image represents a time when my mom came here to build a new life as a nurse, a choice to immigrate to this very place and make it our new home. Through every hardship, she was always there for her kids: She was the one who pulled me out of school on my birthday and took me shopping at the downtown FAO Schwartz (RIP), or at the dress shops on Mission after visits to the dentist. She was the one who handled things the first time I got stung by a bee, on the 14 Mission, slamming her thick nursing book once with a heavy thud.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[pullquote size=\"large\" align=\"right\"]“It was because of my mom that I am proud to be a first-generation immigrant daughter — that my identity, though split, could pledge no true allegiance to either side.”[/pullquote]\u003c/span>As the artist — another Frisco native, as we call ourselves — buzzed away at my right thigh, I meditated on the physical pain that felt like a conduit to what I was going through emotionally. It was cathartic. It was heartbreaking. But it was an emblem of survival for me, an homage to my mother and to the place she brought me that I now call home.\u003c/p>\n\u003cp>For much of my life, I wished I was “Born and Raised” like my friends who were delivered at St. Luke’s (RIP) or General Hospital in the city. But it was because of my mom that I am proud to be a first-generation immigrant daughter — that my identity, though split, could pledge no true allegiance to either side, but took only the best of both worlds: the Philippines \u003ci>and\u003c/i> Frisco.\u003c/p>\n\u003cfigure id=\"attachment_13921127\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13921127\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/Mama-Tattoo.jpg\" alt='A thigh tattoo shows a young woman standing in front of the San Francisco skyline, with the words \"Frisco Queen\" written underneath in cursive.' width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Mama-Tattoo.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Mama-Tattoo-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Mama-Tattoo-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Mama-Tattoo-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Mama-Tattoo-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Mama-Tattoo-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Mama-Tattoo-1536x2048.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A tattoo to honor a true “Frisco Queen.” \u003ccite>(Rocky Rivera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When I moved out on my own after college in the early aughts, I created an altar in my home to honor my ancestors. It was a way for me to stay spiritually connected while rejecting colonizer-imposed Catholicism. At first, it only contained my pictures of my grandfather and my Aunt Agnes, who had passed away at 33. When we moved the altar to the outside balcony, the sugar skulls were soon invaded by pests, the ceremonial chocolate from Colombia eaten and the altar toppled by roof rats. After that, I moved it back inside. Now, it’s crowded with loved ones who passed within the last five years, the most impactful being my father-in-law, my Tita Lita and, of course, my mother.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[aside postID='arts_13915581,arts_13913828']\u003c/span>I was too broken to make a food altar for my mother on Araw ng mga Patay (All Saints Day), the Filipino version of Día de los Muertos, the year she passed. I was too sad to even feed myself and instead ordered Tipunan again to comfort myself, the takeout cartons taking the place of the traditional catfish adobo she had taught me to make.\u003c/p>\n\u003cp>The last time she visited us in Oakland, my mother soared over the zoo in the gondola, laughing as she pointed out all the animals below she could prepare adobo-style. Toward the end of her life, as her health deteriorated, she began to only speak to me in Kapampangan. It was a gift that I was still able to understand her. Meanwhile, my Tita Lita, who famously never cooked Filipino food during the holidays, began to request it from us as she recovered from her first stroke, and again a decade later while succumbing to her next. And my father-in-law, Danny, used to order sisig for every family party after I requested it just one time, even though half of his biological children are now vegan.\u003c/p>\n\u003cfigure id=\"attachment_13921129\" class=\"wp-caption alignnone\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13921129\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/altar-sisig-scaled.jpg\" alt=\"Close-up of a section of a home altar, with a plate of Filipino sisig on display as an offering to the dead.\" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/altar-sisig-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/altar-sisig-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/altar-sisig-1020x1529.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/altar-sisig-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/altar-sisig-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/altar-sisig-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/altar-sisig-1366x2048.jpg 1366w\" sizes=\"(max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">The plate of sisig is an offering to the author’s father-in-law, who insisted on ordering it for family parties even after many of his children became vegan. \u003ccite>(Fernando Godinez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The comfort of familiarity is too strong in the end, especially as we are close to death. And as immigrants and children of immigrants, our relationship to food is the strongest relationship we have to culture and lineage, because food is made and prepared with love when it is made at home.\u003c/p>\n\u003cp>This Día de los Muertos, I am returning to that food altar with my recently passed loved ones in mind. Persimmons for Mom and Tita Lita, their favorite winter fruit. A mango for my motherland (and the name of the enchi ball python we bought to celebrate \u003ca href=\"https://www.kqed.org/arts/13894648/rapper-and-activist-rocky-rivera-embraces-growth-in-her-first-book-snakeskin\">the release of my book\u003c/a> — and to keep future roof rats away). A plate of sisig for my father-in-law. A joint for my boy Dex, who just passed from cancer. And a plate of garlic noodles for the Frisco that only exists in my memories now, made with love by Yours Truly.\u003c/p>\n\u003cp>As we eat and savor each bite with our ancestors, remembering places and names that no longer exist on this earthly plane, we say thank you for the sustenance. And the memories. This will be our first holiday without many of them, and I can only hope to be half the foodie they were.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13921131\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/mom-altar-scaled.jpg\" alt=\"A framed photo of an older Filipino woman in a polka dotted blouse.\" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/mom-altar-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/mom-altar-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/mom-altar-1020x1529.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/mom-altar-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/mom-altar-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/mom-altar-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/mom-altar-1366x2048.jpg 1366w\" sizes=\"(max-width: 1707px) 100vw, 1707px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.kqed.org/arts/13921079/mom-tribute-dia-de-los-muertos-filipino-food-altar-frisco-foodies\">Rocky Rivera\u003c/a> is a journalist, emcee, author and activist from San Francisco. She has four musical projects out, three of those with her label Beatrock Music. She released her first book last year, entitled \u003c/em>Snakeskin: Essays by Rocky Rivera\u003cem>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>\u003cem>Frisco Foodies is a recurring column in which a San Francisco local shares food memories of growing up in a now rapidly changing city.\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">W\u003c/span>\u003c/p>\u003cp>hen I lost my mom in May of 2020, two months after lockdown, I couldn’t mourn in a normal way. Instead of hugs and in-person condolences, I received pings on my Venmo account from all my cousins telling me to order takeout instead of cooking. Not that I could have. I could barely stand up in the shower. The grief was so heavy amidst the isolation of shelter in place that all I can remember was the silence — and the occasional knock on the door for a flower shop delivery or a Caviar order.\u003c/p>\n\u003cp>I found a Filipino restaurant in Oakland called \u003ca href=\"https://tipunan.com/\">Tipunan\u003c/a> that delivered beef rib sinigang soup with the perfect amount of tamarind sourness and crispy pork belly karé karé, with its golden, peanut butter-based sauce and side of fermented shrimp paste to cut through the fat. Of all the condolences sent, this one felt the most appropriate. After all, I had learned to taste food through my mother’s hands when she \u003ci>subu\u003c/i>’d me as a baby and, later, through the cultural sensibilities I inherited from being born in the Philippines — acquiring a palate for things like ampalaya (bitter melon) and burong mustasa (fermented mustard greens).\u003c/p>\n\u003cp>I grew up quite literally in the middle of the Bay on Treasure Island Naval Base, but my mother was the true bridge between two cities, two hemispheres and two cultures.\u003c/p>\n\u003cp>She was also the one who taught me to be a foodie. I remember how my mom would fix plates of Filipino-style spaghetti for the construction workers working on our building, and how she’d take me to Pier 39 to eat Dungeness crab and clam chowder with oyster crackers, a cacophony of sea lions nearby. I remember perusing Japantown with her after her massage appointments, sipping toasted rice tea and eating green tea ice cream at Kintetsu Mall. I remember how she brought home sugarcane from the Alemany farmers market. My sisters and I would crunch down and suck up the sweet juice before spitting out the stalk like some kid version of chewing tobacco.\u003c/p>\n\u003cfigure id=\"attachment_13921119\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13921119\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/rocky-treasure-island.jpg\" alt=\"A young girl with windswept hair dressed in all red; the pier and waterfront at Treasure Island is in the background.\" width=\"1920\" height=\"1440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/rocky-treasure-island.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/rocky-treasure-island-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/rocky-treasure-island-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/rocky-treasure-island-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/rocky-treasure-island-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/rocky-treasure-island-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The author as a child at the waterfront on Treasure Island, where she grew up. \u003ccite>(Courtesy of Rocky Rivera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The eldest of ten siblings, my mom always woke up at dawn to cook breakfast, most likely silog-style: vinegar-marinated milkfish or salted dried fish with rice and a side of fresh tomato, mango and onion. She’d go back to sleep while everyone else ate. She taught me my native language, Kapampangan, and told me that our people were the best chefs in the Philippines. She even used to brag about raising me a vegetarian — after all, we had access to canned veg-meat in our hometown years before it hit the American mainstream. (These days it would be more accurate to call us flexitarians. We Filipinos \u003ca href=\"https://www.kqed.org/arts/13914750/inay-dalisay-world-famous-lechon-vegan-filipino-play-bindlestiff\">have a hard time\u003c/a> parting with \u003ca href=\"https://www.kqed.org/arts/13915581/lechon-filipino-american-party-oriental-food-market-concord\">meat\u003c/a> entirely.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Throughout my adolescence, my mom expressed the truest love language of an Asian mother, bringing me cut cantaloupes, persimmons and mangoes to my room while I was doing my homework. “Tin … anak … mangan na ka (you eat now),” she’d say to me. It’s no wonder that Filipinos greet each other not with pleasantries, but with inquiries of whether you’ve eaten yet.\u003c/p>\n\u003cp>For me, being a foodie always meant that I enjoyed everyone else’s cooking — my mom’s, my sister’s, my grandma’s, my Tita Lita’s — but never dared to learn or replicate. Why would I when I could just enjoy the fruits of their labor? But now that my daughter is the same age I was when my family immigrated to San Francisco, I’ve learned to cook a few signature dishes: garlic noodles, made with copious amounts of butter, and my Lolo Pepé’s catfish adobo recipe, which my mother passed down to me — with no measurements, of course. It would depend on what was in Mom’s fridge that day. It always required a tomato soft enough to thicken the sauce undetected. But sometimes it would have pepperoncini or jalapeños in it. Sometimes lemongrass. My mother cooked it whenever my partner was in town because he was pescatarian and it was his favorite dish she made.\u003c/p>\n\u003cfigure id=\"attachment_13921125\" class=\"wp-caption alignnone\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13921125\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/food-altar_full-scaled.jpg\" alt=\"A home altar for honoring the ancestors, covered with framed photos, decorative skulls and food offerings.\" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/food-altar_full-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/food-altar_full-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/food-altar_full-1020x1529.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/food-altar_full-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/food-altar_full-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/food-altar_full-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/food-altar_full-1366x2048.jpg 1366w\" sizes=\"(max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">The author’s home altar for honoring her ancestors. At the very top are framed photos of her mother and her father-in-law Danny. \u003ccite>(Fernando Godinez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mom, my Lola Luz and my Tita Lita — who passed away in January — are all gone now. It’s up to my sisters, cousins and I to keep those food memories going, if only to thread our past with our future. These days, I try to continue the Kapampangan traditions with my kids while also incorporating our Americanized palates. I inherited a white-cheddar-and-thyme corn pudding recipe from Tita Lita, who cooked like a Filipina Ina Garten on steroids. Every year, she would roast a separate display turkey to serve alongside the cut pieces of the one she’d already carved — mainly for aesthetics but also to feed our huge family.\u003c/p>\n\u003cp>At her memorial this past January, I made the corn pudding for the family and silently noted the differences in taste due to my use of extra large eggs and the fact that I hadn’t let the batter come to room temperature before baking. Even in death, mine couldn’t compare. I plan on perfecting it this year, and every year after, for Turkey Day.\u003c/p>\n\u003cfigure id=\"attachment_13921122\" class=\"wp-caption alignnone\" style=\"max-width: 1125px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13921122\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/Tita-Lita.jpg\" alt=\"An older woman in a red apron sets up a huge spread of food for an outdoor family gathering.\" width=\"1125\" height=\"844\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Tita-Lita.jpg 1125w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Tita-Lita-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Tita-Lita-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Tita-Lita-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Tita-Lita-768x576.jpg 768w\" sizes=\"(max-width: 1125px) 100vw, 1125px\">\u003cfigcaption class=\"wp-caption-text\">Tita Lita was like a Filipino Ina Garten, known for cooking up an enormous spread of food for family gatherings. \u003ccite>(Courtesy of Rocky Rivera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A few months after my mom passed, during that brief moment in the pandemic when things opened up and closed just as fast, I was able to secure a tattoo appointment. In honor of my departed mom, I chose a young picture of her, along with a young San Francisco skyline — no Salesforce Tower in sight — with the Bay Bridge as a backdrop. At the bottom, in curlicued script, are the words “Frisco Queen.” The image represents a time when my mom came here to build a new life as a nurse, a choice to immigrate to this very place and make it our new home. Through every hardship, she was always there for her kids: She was the one who pulled me out of school on my birthday and took me shopping at the downtown FAO Schwartz (RIP), or at the dress shops on Mission after visits to the dentist. She was the one who handled things the first time I got stung by a bee, on the 14 Mission, slamming her thick nursing book once with a heavy thud.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>As the artist — another Frisco native, as we call ourselves — buzzed away at my right thigh, I meditated on the physical pain that felt like a conduit to what I was going through emotionally. It was cathartic. It was heartbreaking. But it was an emblem of survival for me, an homage to my mother and to the place she brought me that I now call home.\u003c/p>\n\u003cp>For much of my life, I wished I was “Born and Raised” like my friends who were delivered at St. Luke’s (RIP) or General Hospital in the city. But it was because of my mom that I am proud to be a first-generation immigrant daughter — that my identity, though split, could pledge no true allegiance to either side, but took only the best of both worlds: the Philippines \u003ci>and\u003c/i> Frisco.\u003c/p>\n\u003cfigure id=\"attachment_13921127\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13921127\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/Mama-Tattoo.jpg\" alt='A thigh tattoo shows a young woman standing in front of the San Francisco skyline, with the words \"Frisco Queen\" written underneath in cursive.' width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Mama-Tattoo.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Mama-Tattoo-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Mama-Tattoo-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Mama-Tattoo-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Mama-Tattoo-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Mama-Tattoo-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Mama-Tattoo-1536x2048.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A tattoo to honor a true “Frisco Queen.” \u003ccite>(Rocky Rivera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When I moved out on my own after college in the early aughts, I created an altar in my home to honor my ancestors. It was a way for me to stay spiritually connected while rejecting colonizer-imposed Catholicism. At first, it only contained my pictures of my grandfather and my Aunt Agnes, who had passed away at 33. When we moved the altar to the outside balcony, the sugar skulls were soon invaded by pests, the ceremonial chocolate from Colombia eaten and the altar toppled by roof rats. After that, I moved it back inside. Now, it’s crowded with loved ones who passed within the last five years, the most impactful being my father-in-law, my Tita Lita and, of course, my mother.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>I was too broken to make a food altar for my mother on Araw ng mga Patay (All Saints Day), the Filipino version of Día de los Muertos, the year she passed. I was too sad to even feed myself and instead ordered Tipunan again to comfort myself, the takeout cartons taking the place of the traditional catfish adobo she had taught me to make.\u003c/p>\n\u003cp>The last time she visited us in Oakland, my mother soared over the zoo in the gondola, laughing as she pointed out all the animals below she could prepare adobo-style. Toward the end of her life, as her health deteriorated, she began to only speak to me in Kapampangan. It was a gift that I was still able to understand her. Meanwhile, my Tita Lita, who famously never cooked Filipino food during the holidays, began to request it from us as she recovered from her first stroke, and again a decade later while succumbing to her next. And my father-in-law, Danny, used to order sisig for every family party after I requested it just one time, even though half of his biological children are now vegan.\u003c/p>\n\u003cfigure id=\"attachment_13921129\" class=\"wp-caption alignnone\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13921129\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/altar-sisig-scaled.jpg\" alt=\"Close-up of a section of a home altar, with a plate of Filipino sisig on display as an offering to the dead.\" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/altar-sisig-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/altar-sisig-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/altar-sisig-1020x1529.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/altar-sisig-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/altar-sisig-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/altar-sisig-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/altar-sisig-1366x2048.jpg 1366w\" sizes=\"(max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">The plate of sisig is an offering to the author’s father-in-law, who insisted on ordering it for family parties even after many of his children became vegan. \u003ccite>(Fernando Godinez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The comfort of familiarity is too strong in the end, especially as we are close to death. And as immigrants and children of immigrants, our relationship to food is the strongest relationship we have to culture and lineage, because food is made and prepared with love when it is made at home.\u003c/p>\n\u003cp>This Día de los Muertos, I am returning to that food altar with my recently passed loved ones in mind. Persimmons for Mom and Tita Lita, their favorite winter fruit. A mango for my motherland (and the name of the enchi ball python we bought to celebrate \u003ca href=\"https://www.kqed.org/arts/13894648/rapper-and-activist-rocky-rivera-embraces-growth-in-her-first-book-snakeskin\">the release of my book\u003c/a> — and to keep future roof rats away). A plate of sisig for my father-in-law. A joint for my boy Dex, who just passed from cancer. And a plate of garlic noodles for the Frisco that only exists in my memories now, made with love by Yours Truly.\u003c/p>\n\u003cp>As we eat and savor each bite with our ancestors, remembering places and names that no longer exist on this earthly plane, we say thank you for the sustenance. And the memories. This will be our first holiday without many of them, and I can only hope to be half the foodie they were.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13921131\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/mom-altar-scaled.jpg\" alt=\"A framed photo of an older Filipino woman in a polka dotted blouse.\" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/mom-altar-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/mom-altar-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/mom-altar-1020x1529.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/mom-altar-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/mom-altar-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/mom-altar-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/mom-altar-1366x2048.jpg 1366w\" sizes=\"(max-width: 1707px) 100vw, 1707px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.kqed.org/arts/13921079/mom-tribute-dia-de-los-muertos-filipino-food-altar-frisco-foodies\">Rocky Rivera\u003c/a> is a journalist, emcee, author and activist from San Francisco. She has four musical projects out, three of those with her label Beatrock Music. She released her first book last year, entitled \u003c/em>Snakeskin: Essays by Rocky Rivera\u003cem>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"pri-the-world": {
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"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/reveal300px.png",
"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
"rightnowish": {
"id": "rightnowish",
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